AV Club: ‘Silverton Siege’ Explores Historical Event Amid Blockbusting Thriller

Posted on by Emmanuel Esomnofu

Last month, ‘Silverton Siege’ a political drama about the events that led to the release of Nelson Mandela from prison has been released on Netflix. The film’s maker Mandla Dube has previously explored racial tensions in his native South Africa. ‘Silverton Siege’ rests at the middle of a planned trilogy which began with 2016’s ‘Kalushi’, a biopic about the freedom fighter Solomon ‘Kalushi’ Mahlangu.

The last of the trilogy ‘The Rivonia Trial’ of Nelson Mandela expected to complete the project. When viewed together, Dube has created a gritty, affectionate collage from epic moments which, not so different from every nation’s story, is tinged with hope, despair, misjudgements and thrill.

Aptly released on the nation’s Freedom Day (April 27th), ‘Silverton Siege’ was received by viewers on the continent with a flurry of attention. ‘Kalushi’ had performed well, among other honours, even winning Dube the Rapid Lion award at the 2016 Festival. However, just as his previous film, the conflicting matter of justice once again reared its head and cast a light on the stories of Stephen Mafoko, Humphrey Makhubo and Wilfred Madela.

On January 25 1980, these members of the UMkhonto weSizwe (commonly known as the MK, a radical group started by Mandela), entered the Volkskas Bank while being chased by the police who had sabotaged a mission of theirs. Knowing the multitude of police waiting outside, they decided to take everyone inside the bank hostage and, seeing no way they’d leave alive, began to stir a movement much larger than them. ‘Free Mandela’, they demanded, passing their incandescent message through an array of forms.

Asides this vague nod to that event, ‘Silverton Siege’ glistens with artistic freedom, so much so that you’d be amiss to call this a documentary or biopic of the siege’s lead characters. Director Dube flouts the conventional knowledge of three men really leading the siege, rather pulling the masterstroke of featuring a lady. Intimate details of the Apartheid era were also cut away as the camera retains picturesque quality, following the film’s immediate characters with reliant focus. In an interview, Dube mentioned Frank Pearson’s ‘Dog Day Afternoon’ and Akira Kurosawa’s ‘High and Low’ as inspiration for ‘Silverton Siege’, adapting their highwire qualities and psychological tussles.

The brilliance of ‘Silverton Siege’ unfurls initially through its cinematography. Narrated by Calvin Khumalo (played by Thabo Rametsi), its early scenes depict the ramshackle nature of the nation’s slums, the stretching veldt and haphazardly-erected wooden shacks. Against the relative richness of the Pretoria landscape where he arrives to orchestrate an MK mission, audiences can sense the origins of his discontent and, even much larger, those of Black people across South Africa.

While he and his comrades are pursued through busy streets, their everyday clothes and perplexed skin marks them out, as though they’d rather be elsewhere, but are now being called into the unquestionable duty of being freedom fighters.

Inside the bank, Dube’s camera follows the trio with shifting complexity, zooming in and out with natural understanding of the emotional state he seeks to capture in a particular scene. The hostages also contribute to the montage, coming differently into the revolutionary struggle. Supplying packed tension, the sound choices are also good: in this movie, you’ll watch the most poignant interpretation of Fela Kuti’s “Zombie” etched onto a progression of events.

Truly, life inspires art and the colour-driven history of South Africa inspired the great creations of many artists from the 20th Century to the present time. They responded variously to the inhumane-yet-strong presence of white discrimination across the country. In films like the Oscar-winning ‘Tsotsi,’ we see how Black pain can morph into Black violence, often against people in similar situations with ours.

The complex presence of being among so many and yet feeling alien lingers still in the multiplicity of languages spoken in the ‘rainbow nation’, a cultural facet ‘Silverton Siege’ does well to explore. In one scene, while negotiating with the MK trio, the white police chief (played by Arnold Vosloo) urges Calvin to speak in Afrikaans, a language with origins to the Dutch people who colonised parts of South Africa before the eighteenth century. Khumalo retorts, asking the man if he spoke Zulu. “Your people have been here 400 years and you haven’t bothered to learn an indigenous language, yet you call yourself a South African?”

In contrast to the overarching presence of racism, Dube shows that it is possible for logic to pierce through love instead of hate and greed. The character of Elani Dekker playing Christine is particularly emotive and effective. She’s an affluent white woman who learns equality early in her life, and is eager to help the Silverton trio. Prior to exiting the bank to declare their noble goals of freedom, she and Khumalo feature in one of the movie’s most powerful scenes. Confused and desperate, Khumalo initially refuses her advances to help. She doubles down, speaking a phrase in Zulu which proclaims the philosophy of Ubuntu: ‘we are only human through other human beings’. In the end, their stories are shared: his, of a past riddled with pain; hers, of a past steeped in injustice.

 

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Elani is just one of the several women who brilliantly execute important roles in the movie. In her act as Mbali Terra, Noxolo Dlamini juggles ferocity and tenderness, eventually becoming the most likeable member of the Silverton trio. Rachel, a lady with albinism who passes as white, is played by Michelle Mosalakae who delivers a memorable account of her skills.

The strongest criticism against ‘Silverton Siege’ is perhaps its treatment of the world outside. While Khumalo and Christine argued before sharing personal tales, the former criticised the woman’s invoking of Ubuntu. “They’re just words, Christine”, he says with pained disbelief,  in the same way a critique might point out the flattened themes of this movie, how easily it leans onto utopia to pass across its message. Well, in actuality, Nelson Mandela was released ten years later. How you hold up that information relies on your personal interpretation of justice, if its enemies run too deep in the system to have a fair chance; or optimistic enough, three people can stir millions of hearts worldwide.

Lead character Rametsi has worked previously with Dube on ‘Kalushi’, but otherwise, he’s more known for acting in TV series. Here he’s brilliant as a funnel for the conflicting emotions suffered by many revolutionaries. Sketches are made of his  compulsiveness, but he makes good on his choices eventually and by the powerful closing scene becomes the sort of hero you’d expect from a movie like this. He’s the one who has to answer the most heated of the recurring question: ‘what’s the price of freedom?.’ In its attempt to get us to ponder this question, ‘Silverton Siege’ forces us to stare at the surface of a longstanding conflict so that perhaps, one day we’ll dig deep enough to be covered in the dirt of salvation ourselves.

Featured image credits/NetflixSA

ICYMI: 11 Projects You May Have Missed This Year

NATIVE Exclusive: Obongjayar Has Been Dreaming Of Doors

Posted on by Emmanuel Esomnofu

The 1994 documentary ‘Hoop Dreams’ follows the lives of two Black Americans who shared dreams of becoming professional basketball players. Neither of the two men played for the NBA as they quite hoped, but their lives took interesting turns. Obongjayar saw this documentary and was inspired to advance that conversation through music. “It just got me thinking about the idea of what it means to dream for so long, and then it doesn’t work out in the end,” he shared with the NATIVE via a Zoom call a few weeks ago.

 

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The singer’s debut album, ‘Some Nights I Dream of Doors’ arrives tomorrow. A mesmerising piece of art, it is possessed with the artistic ingenuity that has marked Obongjayar’s career. “Checkpoints,” he says when I ask what the doors represent. “For me doors are like a portal to somewhere else; no matter where you are, if you’re going through a door you’re going from one place to another place, by default. Even if you put a door in an open space, it instantly transforms that space into two spaces cos you’re going from one place to another, right?”

This sense of perspective follows the album’s twelve songs, which all possess profound bits of wisdom. If you know anything of Obongjayar’s personal life—especially how his mother left for the UK to escape an abusive husband, leaving him in the care of his grandmother—you’d know this perspective has been cumulatively garnered over the. “These are my opinions,” he says. “I’ve got something to say and I see the world in a very different way and I wanna share that.”

Quite truly, ‘Some Nights I Dream of Doors’ is an experiential work of art. Its messages are simultaneously personal and communal, inviting the listener to apply them as their own lives demand. And though Obongjayar plunges through details of dissatisfaction or torment, he’s usually appreciative in the end. Whether on the album opener “Try” where he sings, “we used to be so beautiful” or “Sugar”, where he rides a groovy instrumental to beckon on listeners to make good of their experiences, the 29-year-old maintains a positive outlook. While album closer “Wind Sailor” is a charming ode to music, carried on wistful piano chords and Obongjayar’s poetic lulls.

“There’s no one I wanted to sing like,” he says of his sound. “I’m not an entertainer; I’m an artist. My mission isn’t to entertain or to be a dancing puppet. If my songs make you dance or feel a type of way, then great. But that’s not what I’m doing it for. I’m communicating an idea or a perspective, and that’s what’s important to me.”

“No matter where you are, if you’re going through a door, you’re going from one place to another place, by default.”

Born Steven Umoh in the port city of Calabar, his early musical diet was largely influenced by American pop culture. However, due to the vibrant festive culture of his home state, a young Steven would revel in vivid Afropop drums and the colourful masquerades which danced to them. When he began making waves in underground British circles, Obongjayar’s wide-ranging experiences made his art distinct. His music synthesised a number of artistic virtues, contorting into different shapes with obvious respect for musical history while charting an unprecedented course to the future. Simply put—Obongjayar sounds like no one else.

You hear it in his songs with slices of Afrobeats, Jazz and Soul laced by a domineering electronic influence, all carried by Obongjayar’s powerful voice. “It’s like creating music for a film,” he tells me now, describing the thought process behind his songs. “You’re not driven by things that have come before. You’re trying to create an environment where if someone’s listening to those ideas they’re fully involved with the world you’re trying to build.”

In the past Obongjayar has tried to sound like the rappers he grew up hearing. “But there came a time when I asked myself ‘Who am I?’ This thing I’m putting on isn’t my story. It isn’t where I’m from or what speaks to me. So what is it that speaks to me? From that conversation, I realised: My voice. Use your voice. The voice I hear in my head when I’m angry, the voice I speak with, the voice I use when I’m emotional. Like, how do I translate that into sound?”

That question was duly considered on the ‘Home’ EP. Complex dubbed it “one of 2016’s best debuts” and praised Obongjayar as a “young artist who seems wise beyond his years”. Speaking to this, he describes “Lullaby” as a “conflict between my own world and what’s going on outside. We all battle with wanting to talk about yourself and what you’re going through and also realising that there are things bigger than you.”

Next year’s ‘Bassey’ was even more telling of Obongjayar’s vision. The songs took on themes of social justice, history, personal conflict, and confrontations in different forms. The project was sparse, sombre and spiritual with production that leaves a tingly feel on the skin. “If my light ever should go, feed my fire don’t burn my bones” he repeatedly sings in “Endless”, consistently propelled by the rhythm of war-like drums. “I was testing out stuff to see who I wanted to work with,” he tells me about his choice of producers on that project.

In 2020, Obongjayar inched closer to the present iteration of his sound after working with producer Barney Lister. The seven songs which make up the EP ‘Which Way Is Forward’ were intricately crafted around Obongjayar’s voice and epic subject matter, each becoming their own universe. They won the acclaimed Ivor Novello for Best Song Musically and Lyrically with “God’s Own Children.” “He just understood my language,” says Obongjayar about the Huddersfield-born Barney, who produced all but one song on ‘Doors’. “It was pretty obvious once we started working together that we’ll be in each other’s lives for a long time. You know, we made my first album together which is a beautiful thing, and nobody can take that away from me or him.”

 

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In the universe of Obongjayar, music might be the dominant force but it’s seldom the only one. His videos are similarly thoughtful and bold. Milo Blake’s visual of “Tinko Tinko” echoes cyber punk’s eccentric qualities, featuring Obongjayar watching himself in present time through a computer screen. “Try”, which was actually the first song recorded on ‘Doors’, also has scintillating visuals from Spencer Young, casting Obongjayar in the role of an out-worldly god, with horns and flamboyant regalia further pronouncing the aesthetic. On his part, the artist gives credit to his collaborators. “That’s the beauty of it, man,” he says, “you know you’ve done your job correctly when the [videographers] can see what you see.”

Obongjayar’s speaking tone is lucid, quite different from the earthy pull listeners are accustomed to hearing in most of his songs. But when our conversation shifts to the state of politics in Nigeria, he’s instantly infuriated. “Rubbish,” he says. “It’s always been rubbish, no be today. It’s a money grab for a lot of people, which sucks man. People forget this country is yours; whether you’re making millions by swindling people or making people suffer, you’re inadvertently fucking up your own country.”

He further dissects the failures of the public educational system and the recurring distribution of power among the same class. He’s constantly in the loop about what happens in Nigeria; the day after we speak, he’ll be on a plane to the country. “I have a chance to go see my grandma,” he says fondly. “That’s the woman who raised me.”

More than ever, Africans in the diaspora are returning home, adding the details of familial histories to their cosmopolitan experiences. “It’s brilliant, man,” says Obongjayar. “We’re drumming our sound everywhere. We’re part of the conversation in a big way. Show your colours and wear them proudly, that’s what I say. It’s great that a whole bunch of these people are researching their roots. Because it wasn’t like that—if you take it back like ten years ago, it really wasn’t like that. People weren’t proud they were Nigerian, that shit was super coveted. But now it’s like everyone’s shouting about their identity and for better man, ‘cos we believe in it.”

Obongjayar’s music has always explored the politics of identity, for better or worse. From his time in Nigeria, he credits family values for making him who he is today. When he began making music, there were unspoken expectations that he’d eventually fall into their perceptions of the archetypical Black musician. He has deflated such thoughts, further growing into his distinct expression. “My job,” he says, “is to create an environment where people coming up underneath me can say ‘I can do that too. I can replicate the thing in my head and it’s okay’. Because I’m Nigerian I don’t have to have a particular thing being placed on top of me, I can do what it is that I feel and I can share my perspective and it is valid, because I’m a human being. That’s a thread that runs through my music-–anything is possible, you can do it too.”

All this ties into the vision of ‘Doors’. “The catch with dreaming,” he tells me now, “is that the dream never ends. Once you achieve a dream there’s always another door. There’s always another thing. It’s a continuous process. To move forward, you’re constantly going back into your life, taking experiences from your life that kinda help you grow, or learning from mistakes or whatever it is to help you push forward. And that was the whole concept of the title, the idea of that opportunity. What does it mean if things don’t work out the way you want them to? You have to realise that wherever you are, there’s always somewhere to go. There’s still other factions—whether you succeed or fail, it’s fine. You can still continue.”

Pre-save Obongjayar’s album here.

Featured image credits/NATIVE

ICYMI: After conquering all fronts, what stories will Burna Boy tell on ‘Love Damini?’

Essentials: Smallgod Is Bringing Africa Together on ‘Connecting the Dots’

Posted on by Emmanuel Esomnofu

Smallgod has not hidden his intent to connect Africa. While this vision runs the risk of being interpreted simply, this is no easy task. With Afropop moving at the pace it does, pinning down talented music stars is hard enough. Not to talk of them executing a concept album, which is one of the reason why veterans like Larry Gaaga and Basketmouth are so heralded in recent times. Their decades of background experience is parlayed into the creative role of A&Rs, creating full projects of their own and more importantly, bringing their ideas of music making to life. 

In 2021, the Ghanaian-Dutch multidisciplinary creative showed his first inclination towards a body of work. Between March and April, his monkey symbol visualised collaborations with Harmonize (“Marry Me”) and R2Bees (“Simple Instruction”), setting the bubbly undertone for his latter musical choices. Halfway into the year, his debut album ‘Building Bridges’ was released, threaded by a concept of Smallgod hosting the ultimate pan-African music festival. Skits from British-Congolese comedian Eddie Kadi polishes the narrative, and Smallgod connects musicians in the diaspora with the continent’s major genres like Highlife, Bongo, Kwaito and Nigerian Pop. 

 

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Afropop continues to witness its defining moment within the bubble of global culture over the past year. Commercial success has trickled to previously unseen spaces, with qualities like good music and deliberate marketing in place. With the zeitgeist on his side, it makes sense that Smallgod is furthering his exploration of the soundscape. His sophomore album, ‘Connecting The Dots’, was released last weekend, stacked with features from artists from around the continent. The hallmarks of diverse genres are embedded in single tracks, and it is credit to Smallgod’s curation that the album’s execution isn’t bloated. 

The beats are tapped into the root of their interests while the musicians combine purposefully. Each record moves with real intent, much like “Holy F4k”, the hypnotic Drill affair which preceded album drop. Black Sherif might be everywhere right now, but manages to sound fresh each time he turns up; his Twi-laced hook sets the template for international rappers Ivorian Doll and Vic Mensa to deliver excitingly. “Falling” sees KiDi and Darkoo lace saccharine lyrics over warm production, their vocals alert with professions of love. It’s decidedly the most-covered subject across the album, though the myriad approaches colours ‘Connecting the Dots’ with the prospects of a mixtape. 

This means that most people will probably have their own favourites; however, there are unquestionable bops which will resonate with more people than not. “Tried & Tried” pairs spritzy Highlife-esque guitars with an Afro Bashment bounce, while NSG and Darkovibes sketch the flamboyant details of their soft lifestyles, held against the pained gaze of naysayers. Here and elsewhere, the choice of features map internal stories of their own. 

Being Ghanaian, Smallgod plays more regularly to coastal sounds. Breezy elements occupy the centre of his sonic vision, moving ‘Connecting the Dots’ with the progressive pacing of a friends’ time out at the beach, going through the motions of the day with an unchanging sense of calm and triumph. “Do You” most captures this vibe, helmed by Nonso Amadi on hook duties and further vivified by vocal contributions from Stonebwoy, Teezee and Acebergtm. On personal favourite “2000”, the energy builds even stronger as rippling Amapiano drums and trademark chants dreamily propels a hook which is sung in Yoruba. 

Such cross-cultural references showcase the overlapping nature of most African genres. Smallgod’s vision, therefore, doesn’t stake out on commercial gains but rather having a deep connection with one’s roots, matching their flourish with your experiences in the wider world. Having come this far, dabbling in fields as diverse as fashion and hospitality, Smallgod is imprinting his name in the creative aspect of music making. Two good albums in successive years confirms he’s doing well in that regard. 

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Hot Takes: King Kendrick, Netflix’s Blood Sisters, Young Thug’s RICO Arrest & More

Posted on by Emmanuel Esomnofu

There’s one universal truth about the world: that life goes on. It has been a persistent conflict within people for generations, how one’s inner life might have shifted greatly and yet the world outside doesn’t know. Some might say that proves the futility of life, but personally I’m not given to such nihilism. This is perhaps an unusual way to begin a column about popular culture, but what’s more popular than humans trying to grasp the meaning of life? 

Culture, on the other hand, is a different ball game. Culture moves with the pace of technology and modern tastes. We know so damn much, even though we’ll never know enough. As the year advances, popular people give us enough reasons why they shouldn’t be popular while everyone else proves they’ll probably be worse characters if they become popular. This inspires the news, the buzz of social media arenas. Hot Takes infuses some nuance to the breaking news, the quintessential package for distilling global pop culture every week. Dig in for today’s as I discuss the highly coveted Presidential forms for Nigeria’s 2023 general elections, reactions to ‘Blood Sisters’ on Netflix, new music from Kendrick Lamar and Young Thug and YSL’s racketeering charges. 

WHAT I’M WATCHING 

I’ve recently seen ‘Silverton Siege’, a movie about an event that really happened in South Africa. It is powerful, emotional and thought-provoking, and I think everyone should see it. Actually, I’ve written something more in-depth about the film so make sure to watch out for the website in the coming days. 

I’m also re-watching ‘Avatar: The Last Airbender’ and it’s been a thrill so far. You’d think the animation holds the power of nostalgia over us but nah, it’s actually very good storytelling. Plots and subplots are carefully expanded, and each character is three-dimensional. The CGI still remains a beauty, and I’ve fallen in love again with this series. If I have to throw in something quite different from the earlier suggestions, then ‘Newness’ (on Netflix also) is a movie that’s been on my mind. 

WHAT I’M LISTENING TO 

My music listening habits are quite haphazard. I tend to take my time on new releases, instead revisiting crucial moments in the past, either enjoying them or thinking about them in new ways. Suffice to say, I’ve been listening to Ice Prince’s seminal album ‘Everybody Loves Ice Prince’, which spawned some of my favourite Nigerian rap-pop songs of the 2010s: “Mercy”, “Kpako”, “N Word” and “Pray”, featuring the late great Sound Sultan. 

I’ve also caught myself in a bubble of alternative rock and other psychedelia-inspired stuff. Some projects I’ve found particularly interesting are Noah And The Whale’s ‘Peaceful, The World Lays Me Down’ and ‘My Head Is An Animal,’ by a band named Of Monsters and Men. Victony’s ‘Outlaw’ is definitely getting repeated spins, too. Many jams on there but my favourites are probably “Outlaw” and “Apollo”.

REACTIONS TO NETFLIX’S BLOOD SISTERS 

Given their budget and burgeoning name around these parts, African Netflix movies are usually released to sufficient hype. Earlier this year, Ebony Life’s ‘Chief Daddy 2’ had been one of the most anticipated movies on the platform but when it dropped, a lot of people criticised its bland acting and zero dedication to realism. To that end, it was as though the dominant feedback of subpar storytelling will continue to be Nollywood’s bane. 

I guess the Mo Abudu-led production house took those criticisms in good stride, because the reception to ‘Blood Sisters’ has been largely positive. Over the weekend, many took to social media to laud the coordination between the gory and sensual themes of the movie with the characterisation. Apparently the characters were cast beautifully, while the story moved without the fluff you’d find in much of contemporary Nollywood. 

To better help viewers understand the series’ central conflict, The Native interviewed three members of the Ademola family. In all, they seemed to have had a good time filming. I haven’t seen the series just yet and that’s why I’m refraining from making explicit comments. But to the best of my knowledge, capable hands were on deck. I mean, do you know the movie director Biyi Bandele is an accomplished novelist? Check him out if you haven’t. 

NEW MUSIC FROM KING KENDRICK 

Five years is an impressively long time for a creative to not share their work, but that’s what Kendrick Lamar did. After soundtracking the motions of Black America through three peerless and transcendental albums, becoming the first musician to win a Pulitzer along the line, Mr. Duckworth is knee-deep into his return process.

Last we heard him (on cousin Baby Keem’s “green rangers”) he rapped about “smoking on top 5s” and after announcing the May 13th release date of ‘Mr. Morale & The Big Steppers’, he’s intent on backing that up. Yesterday Lamar shared the fifth instalment in his classic The Heart series, taking what is easily his most experimental audiovisual route yet. That’s a huge claim for a rapper who has flied in videos and has taken the voices of several characters throughout his discography, but everyone agrees “The Heart Pt. 5” is a stunning piece of art. 

Standing against an oxblood-coloured background, Kendrick wears a white shirt and a black handkerchief, tied loosely around his neck. Spazzing over a sample of Marvin Gaye’s “I Want You” his scattershot flow discusses the history of pain and how we’ve adopted it as culture. As he moves into wider pockets, a deep fake effect causes his face to change into Black personalities like Jussie Smollett, Will Smith, Kobe Bryant and Nipsey Hussle, from whose perspective he delivers a chilling verse about the unfortunate incident which led to the rapper’s death. Immersed in his interests like never before, listeners have begun to unpack details from the song and video, perhaps in the hope we might understand a bit of Lamar’s frame of mind as his fourth solo album arrives this Friday. 

YSL MEMBERS ARRESTED ON RICO RACKEETERING CHARGES 

It’s not a good time to be Young Thug. The 30-year-old superstar made yesterday’s headline for allegedly being part of a criminal gang. Atlanta Police took the rapper and ten others into custody after an afternoon raid on his home located in Buckhead, Atlanta. He and the others were said to have been booked into the Fulton County Jail in Atlanta, according to several reports. 

Young Thug was charged with one count of attempted murder and one count of participating in gang activity. Having pulled up resources and information on the rapper as far back as 2012, police officials claim he rented a car used in the drive-by shooting which resulted in the murder of Donovan Thomas, who was 26-year-old in 2015. Young Slime Life (YSL) was also labelled a gang, co-founded by Thug and several others in 2012. Officials uncovered its affiliations with the infamous Bloods gang, they revealed. He was also charged with conspiracy to violate the Racketeer and Corrupt Organisations (RICO) Act. 

I however have reservations about the part of the 88-page indictment which pulls up Young Thug’s lyrics as a possible proof of his criminal history. The song in question, “Just How It Is”, was the first Thug record I ever liked, and though it surely has lines like “we don’t speak about shit on wax, it’s all mob business”, there’s a long history of misinterpreting lyrics as evidence. Rap is infamously violent and white conservatives have sometimes twisted that to their advantage, using the rapper’s perceived image to build a real-life case against them. I’m not asserting that Thugger is innocent. I’m saying, let art remain art and if FACTS prove he did the crime, then he should definitely do the time. 

APPLE DISCONTINUE THE IPOD, AFTER 21 YEARS

The streaming era has pretty much influenced how we listen to music. Providing CDs or vinyls are now treated as an additional thought by creators, more or less. Continuing the trend of discarding the past in total attention on the future, yesterday Apple announced that it was discontinuing the iPod device. Since 2001, music lovers have downloaded music onto the small device,  so loved because that sole function prevented any distraction.

Apple has announced that iPods remain available while stock lasts, but that hasn’t stopped iPod lovers from reflecting on their relationship with the device. I mean, it’s hard when everything around you is shifting and it seems like you have no say. The fact pretty much remains that capitalism is here to stay, and I wonder how many of our childhood darlings will be taken from us in the coming years. Farewell now, iPod. It was great while it lasted.

Make it comedy..but to what end?

by Wonu Osikoya.

By now it’s no known secret that Will Smith physically assaulted comedian, Chris Rock on stage at the Oscars when Rock made an insensitive joke about his wife’s alopecia. What has followed from this event is polarising discussions about whether Smith deserves to be banned from the Oscar’s Academy, have his awards stripped off him and lose his standing in the comedy industry.

However, it seems perhaps a dangerous precedent has been set. On Tuesday night at the Hollywood Bowl in LA, Dave Chapelle was attacked by someone from the audience. While Chapelle’s security was taking care of the man who had jumped him, Chris Rock went on stage and took Dave’s mic while sharing: “Was that Will Smith?”

To me, I believe this is very insensitive for many reasons. If your fellow colleague has just been attacked on stage, I don’t believe the first thing that should cross your mind is making insensitive comments about a similar situation of assault. It would have served the audience and viewers watching at home, if Rock had left out the Will Smith comments and instead focused on the matter at hand, which was assisting his colleague and friend. If this is a chapter you’ve decided to close completely, then do just that. But just as we can’t control people’s reactions, we also shouldn’t tell people how to handle their emotions right? There’s a thin line between comedy and just being plain insensitive and rude but where do we draw the line?

Featured image credits/NATIVE

ICYMI: UNDER – APRIL 2022

After conquering all frontiers, what stories will Burna Boy tell on ‘Love, Damini’?

Posted on by Chibuzo Emmanuel

Last week, while performing in front of a frenzied crowd and darting around in underwear, Burna Boy eagerly announced to over 20 thousand fans at the majestic Madison Square Garden, and an additional 25 thousand fans streaming the show live, that his sixth studio album will be released on the 2nd of July. That date is personal, as it will be his 31st birthday. The title is also personally symbolic titled ‘Love, Damini.’

In the weeks leading up to this momentous announcement, Burna Boy had subtly been hinting at an album release—he shared a spate of intriguing snippets, an ice-cold picture with one of the UK’s finest Ed Sheeran, and a slew of shrew cryptic tweets that all carried the signature ‘Love, Damini.‘ To the average eye unfamiliar to the workings and history of Nigerian pop culture, those two words may seem unremarkable, banal maybe. But to those in touch with the pulse of the culture, those who have witnessed Damini Ogulu’s steep and gruelling rise over the past two decades, the apt title ushers in the singer’s next phase following his gargantuan win at the 2021 Grammys.

As the title suggests, ‘Love Damini’ seems to be a departure from Burna Boy’s earlier work. The singer shared on his social media that the album would be a personal body of work. ‘It’s about the ups and downs, the growth, the L’s and W’s. I’m excited to share this journey and roll out with you all,’ he said candidly on Twitter. Burna’s gambit as a writer and performer is the supreme ability to traverse a roller coaster of personal emotions and themes in his music, from sombre angst to effusive mirth to occasional political agitation to self-actualisation.

From his debut album, ‘Leaving an Impact for Eternity’, down to his fifth and most recent LP, ‘Twice As Tall’, the bulk of the album titles in the Burna Boy catalogue were engendered from situations where he’s had to come out swinging, either to prove something or get himself from a back-to-the-wall situation. As made evident in these titles—from ‘Redemption’ to ‘Twice As Tall’—he doesn’t attempt to flatten these precarious situations. Instead, he uses them as material to spawn majestic sonic totems.

However, for the first time since his illustrious breakout in the summer of 2012, he’s poised to depart from that template. Burna Boy is no longer the scrawny kid desperate to emblazon his footprint on the Afropop landscape; he’s not the forlorn singer trying to prove a point to his ex-label and he’s barely the misunderstood artiste locked in a battle with detractors who think he’s drunk with his hubris. He has elevated from being the burgeoning powerhouse trying to assert his legacy on the African continent and he’s eclipsed being the hoodwinked giant on a mission to level up and bag a Grammy.

Damini Ogulu has proved his critics wrong, sold millions of records, earned countless certifications, sold out tons of arenas across the globe, earned his Grammy, and for the first time in his illustrious career, he is at the forefront of a battle and there’s not a single antagonist on the other side. With no narratives to right or hurdles to surmount, it’s worth speculating the motivations and purpose of the impending Burna Boy album?

In the stint between his last project—the peak pandemic-released, Grammy-winning ‘Twice As Tall’— and now, Burna Boy populated 2021 with four singles. There’s the unabashedly triumphant “Kilometre,” the sunny “Question” with Don Jazzy, the glossy trap cut “Want It All,” featuring Chicago rap star Polo G, and the carefree, Wizkid-assisted “B. D’OR.” One thing they all share is the absence of a weighty reflectiveness, or the agenda setting-tone of singles like “Anybody” and “Wonderful.”

On “Kilometre,” over an ebullient and partly menacing beat, he gloats and goes full self-aggrandising which is far from atypical of a Burna Boy song, but the taunts in his lyrics and the playfulness of his cadence make for a straight-up club banger, and less of a grand proclamation. For “Question,” he follows a similar format, matching quips like, “Anything you wish me, that be your portion. Bad mind no dey work o, man no be God o,” with a breezy sense of accomplishment.

There’s a change of pace on “Want It All,” swapping out maximalist Nigerian Pop bent for spare, gleaming instrumentation with choral flecks. Burna Boy sounds a little more ambitious with his agenda, but the focus on amassing material wants doesn’t exude urgency. Closing out 2021 on a similarly ostentatious note, he’s joined by friend and colleague Wizkid for “B. D’OR,” a sleek party tune replete with boastful writing and a joyful disposition.

From the pattern of his post-‘Twice As Tall’ drops, is Burna Boy on course to deliver his first purely Pop album? No politically charged music, no grand message of Pan-Africanism, no poignant rebuttals aimed at his detectors? Just love, happiness, boasts, and—in Nigerian parlance—vibes and inshallah? This prognosis makes a lot of sense. What’s left to do than enjoy the spoils of triumphing and levelling up for three consecutive years?

It’s worth noting that we would’ve gotten to this arch of Burna’s career a few years earlier. In the Aftermath of ‘African Giant’, Burna Boy dropped “Money Play” and “Odogwu,” two celebratory records that, according to industry chatter, were precursors to a summery album. Being overlooked at the Grammys changed that direction and, coupled with the Covid-19 pandemic, inspired an introspective turn. That scenic route to this point feels a lot more earned, and the afro-fusion artist is clearly relishing every moment of his apotheosis.

That Burna Boy feels fulfilled is more of a fact than it is a projection on him. A tweet he shared a couple of weeks ago, amidst one of his infamous digital rants, reads:

 “At this point I just want to LIVE and DIE on STAGE with my Band The OUTSIDERS. I’ve achieved All the dreams I ever personally had. Money gives me No satisfaction, Nothing really does, except being On STAGE with my God sent band.”

The most significant part of that tweet might be the first three words: At this point. Burna’s last three albums have been moment-based. ‘Outside’ was created around an industry pressing him to the margins; ‘African Giant’ was partly spurred by the Coachella font saga; and ‘Twice As Tall’ was a resounding and resilient bounce back from the crushing Grammy loss. Burna Boy has formed a habit of creating in the moment, and this new album won’t be any different. For an artist selling out arenas the world over, that the theme of triumph will be central isn’t a wild speculation. At that, to expect a vacuous album would be the wild speculation.

At his historic, sellout shot in New York’s gilded, 20,000-capacity Madison Square Garden, Burna Boy seemingly previewed a song off ‘Love, Damini’, and that’s the closest we can get in speculating and mulling over what this new album would sound like. The track is bookended by a striking brazenly Nigerian chant delivered by a cadre of male voices, “E don cast, las las, na everybody go chop breakfast”—that’s the marking of a resonating Afropop record. In under four minutes he traipses an extensive gamut of topics: from his car crash this year, to his days in his hometown of Port Harcourt. He’s still reflective and intentional but he’s mostly grateful and vulnerable.

Inferring from the singles released in 2021, the song previewed in MSG, his arena-hopping lifestyle, and his dynamic powers of writing from the vantage point of invincibility and vulnerability, Burna Boy is poised to deliver an album replete with both vibrant party anthems and songs with personal, affecting stories. Most of all, having conquered almost all frontiers, the African Giant can only sit on a high hill, stare down, and bask in the glory of his majestic exploits. 

 

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3 YEARS ‘OUTSIDE’: APPRECIATING BURNA BOY’S PEERLESS CREATIVE RUN SINCE HIS REBIRTH

What’s Going On: Gunmen raid in Nigeria, criminal charges against former Guinea president & more

Posted on by Damilola Animashaun

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.

48 dead after gunmen raid Northwest Nigeria

Northern Nigeria’s insecurity issues continue to escalate and provide horrific news reports. Last Friday, 48 people were killed by bandits in the Northwestern state of Zamfara. According to Aminu Suleiman, administrative head of the Bakura district, the attacks were coordinated as the terrorists shot anyone who was trying to flee. The attack comes a month after the horrific Kaduna train attack which left families traumatised after losing their loved ones.

The bandits attacked three villages – Damri, Sabon Garin and Kalahe – where they burned a police car down, killed two security personnel and attacked hospital patients before looting livestock and food supplies. “A total of 48 people were killed by the bandits in the three villages attacked Friday afternoon,” Suleiman said, adding that Damri was the worst hit, with an estimated 32 people killed.

In a statement, Nigerian president Muhammadu Buhari has asked security operatives to “do all that can be done to bring an immediate end to the horrific killings,” another perfunctory response that shows his administration’s failures to deal with this fatal epidemic. Officials in Zamfara say more than 700,000 people have been displaced by the violence, and the United Nations estimates that over 11,000 have relocated to neighbouring Niger to seek refuge.

Price of living increased in Mauritius

Effects of inflation have once again struck Mauritius resulting in a high cost of living.  The current state of living was stated as the worst hike rate since the 2011 inflation rate after a nationwide riot protesting the increase in prices. Recently, the bus and train fares increased between 25-40%.

The current inflation rate has been credited due to the Russia-Ukraine war as Mauritius heavily imports food and fuel. Due to the currency weakness and the sanctions on Russia, there will be sustained pressure on the prices. Currently, the government is consulting with economic and social actors as they are about to present the national budget to the population. Perhaps another positive indicator is the International Monetary Fund’s projection that the country’s economy will grow 6.1% this year, a 2% increase from last year.

Kenyan athlete set a world record at Kip Keino Classic race

On Saturday evening, Kenyan athlete Ferdinand Omanyala set a new 2022 world lead of 9.85 seconds in men’s 100m, at Saturday’s Kip Keino Classic, a Continental Tour Gold Athletics. With Italian Olympic gold medalist Marcell Jacobs forced out due to food poisoning, Omanyala defeated Olympic 100m silver medalist, American Fred Kerley, who clocked 9.92 – his personal best this season – firmly putting him on the global radar as more events take place in coming months.

Back in September, the sprinter set his continental record of 9.77 seconds on the same home soil track, and he’s determined to lower that personal best in coming races. “I am the African record holder, but I want to be the African champion,” he told BBC Sport Africa. “Right now, I am hungry for medals, so I am really preparing for the African Championships, World Championships and the Commonwealth Games.”

Competing in the 100m, 200m and 4x100m events at the African senior Championships in Mauritius next month, Omanyala is targeting three gold medals at the competition scheduled for June 8 to June 12. He’s also targeting a podium finish at the World Championships in July 15 to 24 in Oregon, United States, as well as the Commonwealth Games slated for July 28 to August 8 in Birmingham, England.

Guinea to prosecute ousted president for murder and other grave charges

Last September, a military coup led to the ousting of former long term president, Alpha Conde, who’s popularity amongst Guineans had dwindled following moves to constitutionally extend his stay in office and hold on to power indefinitely. His forceful removal from office elicited mostly positive reactions from the general public, but that’s just the beginning of his travails. Guinea’s Military government has filed several charges for alleged crimes committed by Conde and 26 of his former official during his time in office.

According to a document shared by public prosecutor, Alphonse Charles Wright, the alleged crimes include murder, torture, kidnapping, violent sexual abuse, amongst others. Joining Conde as defendants in the case are a former president of the constitutional court, ex-speakers of parliament, a former prime minister and many former ministers, legislators and heads of the security services. These charges were issued in response to complaints filed by the National Front for the Defense of the Constitution (FNDC) — the group that had led the protests against Conde’s attempt to run for a third term in office.

ICYMI: PLATOON CELEBRATES AFRICA MONTH WITH NEW COMPILATION PROJECT, ‘AFRICAN LULLABIES PT. 2’

NATIVE Exclusive: Following his break in comedy, Justin Ugonna Is Looking To Conquer The Fashion World

Posted on by Moore Wright

You’ve probably heard of Justin Ugonna, a US-based Nigerian content creator fondly known on the timeline as Justin UG. His funny skits and videos flood social media timelines stirring viral discussions for days on end or land on popular blogging sites where they are re-shared by his loyal fans. His career has been nothing short of colourful, despite him only being 24-years-old.

 

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With a degree in IT from Georgia Southern University, Justin Ugonna’s career in the creative field might seem unicorn but he’s always been naturally creative right from a young. He made his career start with internet comedy through the popular video app, Vine. Here, Justin would share videos and challenges which naturally lent itself to the app’s viral nature, bolstering his profile to eyes and ears both home and abroad. It quickly became clear that he would be no stranger to creativity.

Now with over 200,000 followers on Instagram, he has made his mark as one of the leading Nigerian comedy creators today.  However, in spite of the mark he has left on the comedy space in Nigeria, it is worth noting that Justin cannot simply be described as simply a comedian. He is also a multi-disciplinary creator with work spanning across different industries from acting, to filmmaking, to fashion design. In more recent years, he has made a more official foray into fashion by creating  the luxury streetwear brand known as For the Geng.

Created in 2020 during the COVID-19 pandemic, Justin’s brand strives to find the middle ground between luxury and streetwear is a top priority for Justin Ugonna’s brand. This is exemplified by the brands website which features high quality accessories and graphic tees, but with nothing above $100 dollars. For the Geng also references its founders’ Nigerian heritage, particularly with the release of a football jersey in honour of the Nigerian Super Eagles team. 

 

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In this interview we speak to Justin about his career leading up to now, why he went into fashion in the first and the challenges that he has faced so far.

His words which follow below have been lightly edited for clarity.

NATIVE: You’re a filmmaker, designer and actor among other things. How do you juggle all this? Do you ever find it difficult?

Justin: Difficult, yes. There’s a lot of things to do, especially when you have to try and be the best at each and every one of these things. That’s when the difficult part comes in. I’m the type of person that if I feel like I can do something and I know it won’t be trash, then I’ll go ahead and do it. That’s why with designing, I thought ‘I love wearing clothes. I think I know what could look good, so i’m just going to try it out. With music, I thought the same thing too. Nobody is going to stop me from making music. It may not be the best but it’s not terrible. I’m just going to go ahead and do it. So I’d say it’s difficult but its something I really enjoy doing.

NATIVE: You learnt quite early on that comedy is a currency in the Nigerian culture space. What did you learn back then about influence and the power you wielded in your corner of the internet?

Justin: Once you have people who follow you and admire your work, that influence is there. Do I feel like I have that influence? Maybe just a bit.

NATIVE: Of course, as someone who works on the Internet, you’re no stranger to the negative sides of social media and how negative it can become. What are some of the ways you stay afloat or detox from social media when the pressure gets too much?

Justin: When I first got into the limelight, I was carrying myself in a way where I’d never want to get that negative energy. But somehow it just found me. When things of this nature happen, I try to just drift away from social media in general. But that could also hurt you, in the sense that if people feel you’re not giving them what they want again, they’ll stop following you. I still feel like just leaving social media sometimes is my own way of handling issues. I don’t get a lot of negativity but when I do, it really affects me. I could have hundreds of positive ones but just that one negative one could just put me in a terrible place. Right now, I feel like everyone is very insensitive. I started making content eleven years ago on Vine. Then, people just wanted to laugh. But right now, anything you say, someone could look at it in a hundred different ways and there could be misinterpretations.

 

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NATIVE: What other ways do you stay true to yourself?

Justin: I feel like you have to believe in yourself. With me, I know that whatever I’m putting out I’ve put a lot of work into it. So, I know that no matter what people are saying, at the end of the day, I’m still good at what I do. 

NATIVE: Why did you decide to go into fashion?

Justin: I love to dress well. I love seeing people who know how to dress well. I feel like I’ve also had this business mindset probably since I was in secondary school. I feel like I can make things that people would love to wear. I started making things for myself and people would ask where I got it done and who designed it. I would tell them I did it myself, but if they want it they can pay me and I can get it done for them. It started growing from there and I started branching into streetwear, just diversifying myself. The people I’d say had a big impact were the owner of Telfar and Virgil Abloh.

NATIVE: Is streetwear something you’ve always been interested in?

Justin: With my brand, what I’m trying to do is find that middle ground between luxury and streetwear. Where someone could wear something and have it be seen as luxury, but style it a different way and it’s seen as streetwear. I also want to show people you can find good quality at a very good price. So people could buy my products and feel like this is money well spent, and I’m glad that this has been the case. I want everyone to wear good quality stuff.   

 

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NATIVE: How did the idea for ‘For The Geng’ come about? 

Justin: I think it was in December 2020. I had a group of friends and i was making T-shirts for them. People that support me called themselves UG Geng. I didn’t want my name to be the focus, so I needed something people associate me with but could also stand on its own. I used to have merch like any other Youtuber but I felt like I wanted to make it a proper brand where anyone could get it. ‘For the Geng’ sort of means for the people. I just want people to feel like part of a community. I feel like it’s a weird name for a brand, but I like weird stuff.

NATIVE: What were the biggest challenges in starting your brand? 

Justin: Money. I didn’t know how much it would take until I got to my first major collection. I had to really open my eyes to what people in the fashion industry actually go through. I had to do a lot of learning because I’m coming in as someone who studied IT and never did anything fashion-related. I had to learn about the game so when I started I’d be equipped. And I’m still learning, I don’t think you ever stop learning in this industry. But once you start, things just fall into place.

 

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NATIVE: Was there any major resource you used to learn?

Justin: Youtube was a major source. Just watching interviews of people who had their own brands. There are so many interviews of Virgil Abloh speaking about the whole production process. I also reached out to a couple of people who work in the industry. I also bought a couple of courses, so a variety of things.

NATIVE: What do you think about sustainability and what are some of the sustainable practices you adopt at your brand?

Justin: I’d say it’s important, not just in fashion but in different industries. It’s something I definitely take into consideration while working on ‘For The Geng.’

NATIVE: You’ve popularly reworked Nigerian jerseys and constantly borrowing inspiration from your country’s past to dictate current tastes. What are some of the ways in which you wear your hometown/country with pride?

Justin: Before anything I feel like I’m a Nigerian, so I like to put the country on the map. Obviously Nigeria is not the best place to be right now, so I like to shine any kind of light that I can.

 

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NATIVE: What do you think about the current state of streetwear, specifically in Nigeria?

Justin: In the past few years, I feel like the growth has been insane. I feel like people like Virgil have made streetwear more visible, not just in Nigeria. It’s just amazing seeing streetwear growing rapidly in the place I’m coming from. With the likes of people like Ireti who is doing a big job making sure the streetwear culture stands and keeps going.

NATIVE: Has the vision for For The Geng changed significantly over time? I know you mentioned a rebrand a while back. 

Justin: I’d say the only major change that has happened was that at first, I wanted it to be a full streetwear brand. After some time, I felt like I could incorporate luxury into it. That has been a major change but every other thing has stayed the same. It’s become more broad rather than focusing on one aspect. It gives me more freedom rather than putting me in a box of just streetwear.

NATIVE: What are the next steps for your brand and for you? 

Justin: As a creative I’m trying so hard to get into the Hollywood/ Nollywood scene. If I can’t get into that, I’m trying to find a way to eventually get that big break. Even if it’s with creating more short films or maybe a feature film. With my brand I feel like I still have to prove a point to people. Because people see you as a comedian and all of a sudden you’re doing clothing. I don’t think they take comedians as seriously when you try to branch out. But I’m just taking my time, making people know that I know what I’m doing and that this is for the long run. I also just designed my first bag and I’m about to release that next month under my brand. 

 

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Best New Music: Victony Ponders The Allure of A Situationship On “Soweto”

Posted on by Emmanuel Esomnofu

Afropop projects are hardly received unanimously but Victony has been a worthy exception. Since the release of his sophomore EP ‘Outlaw’ last Friday, feedback has been astoundingly positive. While we shared our first impressions of the project, it was obvious everyone had their favourite songs, picking at different standouts on the succinct 7-track project. 

This was not surprising given Victony’s track record. Impeccable songwriting is highlighted nowadays, the reason being that audiences’ broadening tastes and the self-determination of many young artists to be creative with their verses. Lined with ethereal melodies and an uncanny understanding of space, Victony continues to carve a niche for himself with a sound that glistens with alternative flourishes while paying close attention to the mainstream. 

 

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From “Holy Father” to “Rosemary”, Victony has continued to show growth in his lyricism and sensational lyrics, all accomplished with an almost peerless cool. Across the seven songs on ‘Outlaw’, these virtues flagrantly occupy the fore. He is meditative, joyous, inspirational, naughty and sleek all at the same time. On the Tempoe-produced standout “Soweto,” he is especially sleek delivering his verses with an audible smirk and charisma that permeates off the screen.

“Soweto’s” tone is light, right from its opening sequence of cherry strings and wistful adlibs. With the most unique percussive bounce you’ll hear in recent times, Victony proceeds with his enthralling descriptions of being awestruck by a woman’s beauty. While “All Power” might have gotten overtly intimate into the lurid desires of his mind, “Soweto” is restrained. As you might expect, the lyricism is more allegorical than factual. With Victony singing lines such as “No go do me Diego, my Maradona”, within the stirring pleas which make up the hook of this song. 

Of course, all praise to Victony for his songwriting qualities which he has also matched in quality by Tempoe. Since last year, the producer has churned hits with the consistency of an AI machine, embedding his beats with trademark flourishes an average listener can almost immediately place. With a two-minute run time, Victony cedes control halfway into the song, allowing the beat to expand and excite into the closing seconds. The whistle solo is a masterstroke, becoming a sort of interlude before the melancholic closer “Kolomental” comes in. 

Few songs this year will come close to this level of synergy. Within the tape which houses it, “Soweto” is neither the boisterous bop nor the most effusively introspective. However, what it portends is something more, an echelon of instant classics which refine themselves with time, better with each listen. That’s what “Soweto” sounds like. 

Listen to “Soweto” 

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ICYMI: PROJECT RUNAWAY

Knucks Returns With A Blistering New Album, ‘Alpha Place’

Posted on by Chibuzo Emmanuel

British-Nigerian rapper Knucks, one of the most exciting voices in the UK’s budding progressive Rap scene returns with his first body of work since 2020. ‘Alpha Place’ is a dazzling 13-track ode that sees him relay his hood chronicles with astute dexterity and further cementing himself as a consistent lyricist capable of weaving poignant tales and dizzying rhymes.

 

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His latest effort sees the 27-year-old explore his South Kilburn roots in great detail. He breezes through bits and pockets of the jazz-inflected Hip-Hop production that defines the project, with his archetypal solemn delivery. In a recent interview with Complex, the rapper recently shared that the project serves more as an extended EP than a full-length LP, which was executive produced by both himself and the Brit-jazz extraordinaire, Venna.

An accompanying video to a standout off the album — “Die Hard” which features fellow London rapper Stormzy — has also been released. In the video, set in an eerie truck park in London, Knucks chills and peruses around with a cadre of friends outdoors, before heading to an amber-hued opulent room to join Stormzy for a game of chess.

Complete with exciting features with budding and veteran acts alike — Lex Amor, Stormzy, Ragz Originale, Sainte, Youngz Teflon, SL, Shaé Universe, Venna & M1llionz — the album is poised to secure him his first top 10 entry in the UK Top Albums chart.

Stream ‘Alpha Place’ below and shop the merch here.

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TurnTable Top 50: Black Sherif Tops The Charts For The Fifth Consecutive Week

Posted on by Wonu Osikoya

For the 5th consecutive week, Ghanaian Asakaa drill rapper Black Sherif remains at the top of the Turntable Top 50 charts, with “Kwaku The Traveller” sitting at number 1. The record which tallied 4 million equivalent streams (No. 1 on streaming) and  44.2 million in radio reach (No. 2 on radio), has now become the longest No. 1 single by a non-Nigerian artist surpassing the 4-week peak of Gyakie and Omah Lay’s “Forever (Remix)”, and also equals the 5-week reign of Ladipoe & BNXN Fka Buju’s “Feeling” as the longest Hip-Hop/Rap No. 1.

Fireboy DML’s “Playboy” holds at its No. 2 peak for a second week in a row, while uNder alum Asake moves up one spot with the Burna Boy-assisted “Sungba (Remix)”, which takes over from Rema’s “Calm Down” now at No. 4 this week. Pheelz & BNXN’s “Finesse” is at No. 5 for another week, rounding off the top 5 spot for this week. BNXN also holds down the 6th spot this week with “Kilometer Remix”, featuring Zinoleesky.

To round out the top 10 this week, Young Jonn’s “Dada (Remix)” with Davido enters the top 10 this week as it ascends 13-7, making Young Jonn the first artist-producer in the Top Ten. Holding down the No. 8 spot this week is Asake’s “Omo Ope” with Olamide which peaked at No. 1 for one week, while Skiibii & Davido’s “Baddest Boy (Remix)” falls from No. 7-9 after topping the chart for five weeks. Rounding up the Top 10 this week is Kizz Daniel’s “Oshe” with The Cavemen which drops to No. 10 after peaking at No.9 last week.

Elsewhere in the charts, Melvitto & Wande Coal’s “Gentility” rises to a new high of No. 11 – while Camidoh’s “Sugarcane (Remix)” with Mayorkun, Darkoo & King Promise makes its debut on the charts at No. 16.

Read a full breakdown of this week’s TurnTable Top 50 here.

ICYMI: PROJECT RUNAWAY

Songs Of The Day: New Music From Zilla Oaks, Jeriq, Stonebwoy & More

Posted on by Chibuzo Emmanuel

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier in the week, we highlighted new drops from Kizz Daniel, Tekno, Larry Gaaga and more. Today’s selection includes new cuts from Cobhams Asuquo, Bella Shmurda, Stonebwoy, Zilla Oaks and more

COBHAMS ASUQUO, PATORANKING & BELLA SHMURDA — “JAH ELI JAH”

Cobhams Asuquo, the veteran singer and songwriter has recruited Patoranking and Bella Shmurda for a dizzying new offering titled “Jah Eli Jah.” The record which is made up of billowing drums, soulful melodies and glib flows sees the trio skate the beat with grass-to-grace-tales and prayers to God. 

STONEBWOY — “THERAPY”

Ghanian superstar Stonebwoy is back with a new offering dubbed “Therapy”. “Therapy” pares down the fluid texture of R&B with the gritty percussion of Afrobeats, with Stonebwoy surfing the beat with his sleek vocals. Over the track, the singer is openly vulnerable as he professes his unflinching love to his muse and declares her love as his therapy. 

Jeriq – “Back To Basics”

Ahead of his forthcoming debut album, rapper, songwriter and uNder (previously Fresh Meat) alum Jeriq is here with his new single “Back To Basics”, a Drill tune with heavy bass and kicks on the production. “Back To Basics” finds him rapping in his dialect and speaking on where he started from to where he is today.

AYOMIDE SOUNDS — “YAWA DEY” FT. ZLATAN

On this gleaming offering, the age-old dance of old and new lives on, as budding talent Ayomide Sounds taps Zlatan for a resplendent romantic ballad. Ayomide is earnest as he professes his obsessive love for his muse with lines so clever, they could be the work of a Pulitzer Prize-winning poet stricken with lovesickness. Zlatan contrasts Ayomide’s solemnity with his defining playful essence. 

ZILLA OAKS & MAKAMA — “MUTUMINA X ALOBAM” 

One of the blistering acts heralding a new wave within the Nigerian music scene returns. Zilla Oaks — an illustrious Abuja based rapper — taps fellow Abuja-based rapper for a high-octane Hip-Hop offering “Mutumina x Alobam”, which is the lead single off his imminent ‘MMXXII’ EP. There’s no shortage of thrill on the record as the talented duo trade sleek bars over a menacing beat. The allure of the song is not so much in its lyricism but the smoothness the pair exude as the rap about living their best lives.

 

BLVCKI TOPIA — “BLVCK ORISA”

“Blvcki Orisa” is a powerfully poignant track that melds the amorphous sonics of quintessential Yoruba soul music with the tittering drums of 80s disco into a wholesome flourish. Blvck Topia is amorphous and fluid on this track, not just with his delivery but with his choice of words. He skirts around themes, heading in no particular direction but instead uses his sultry vocals to conjure a dreamy ambience. 

Featured Image Credits/NATIVE

Track By Track: Victony Breaks Down His Sophomore EP, ‘Outlaw’

Posted on by Wonu Osikoya

In the summer of 2020, Victony elbowed his way into Afropop with an elegant and vibrant debut EP titled ‘Saturn’. The project, a 6-track EP released at the height of the COVID-19 pandemic introduced the world to his refreshing sound, and placed his name in conversations about Afropop’s new vanguard. Since then he’s only doubled down on displaying his fine craftmanship through collaborations such as “Holy Father” with Mayorkun and “Nataraja” with street pop producer, Rexxie.

Last Friday, the singer shared his sophomore EP ‘Outlaw,’ a 7-tracker which is intricately structured and emotionally layered with personal tales about love, life, lust, and becoming. “Being an Outlaw simply means being unapologetically you and we’re in a society where being yourself seems to be abnormal, so if being yourself is abnormal, then we’re outlaws”, the artist who had recently shared his body of work in the early hours of the day shared via a Twitter space hosted by The NATIVE. 

 

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On ‘Outlaw,’ the artist explores matters and topics which revolve around romance, love, self-growth and self awareness. On records such as “Outlaw” and “Kolomental”, Victony speaks on a better and more improved verse of himself as well as focusing on what the future holds for him rather than dwelling on his past experiences. On the EP’s opening number, he sings lyrics such as “say I no dey fear fire, champion boy you go vex tire/Enemy saliva no dey quench fire/if you hating you go vex tire”, chanting to those who don’t believe in him that he’s here for a long time with a bold and assuring tone.

With production from a few producers including lead producer group Ktizo, P.priime, Tempo and Blaise Beatz, Victony delivers some of his most honest work to date. ‘Outlaw’ is a clear showcase of his newly refined confidence after a year of seismic change in his personal and professional life. Take it from the man of the hour himself, below Victony breaks down the tracks on his project ‘Outlaw.’

“Outlaw” 

I recorded “Outlaw” mid-2020 and that took the longest time to create on the EP because it’s a song that has depth and just needed time. It doesn’t even start immediately you hear the song, it starts off with a chant and then you begin to hear whispers. This was a song I wanted to have depth like lyrically, especially. We started the production on one day and we had to come back and finish with that later, and I felt it was a good opener because it embodies the right emotions for this project. It tells my story and it shows my relationships with the outlaws. At the time, I was honestly just voicing out the thoughts in my head and that’s how the song came about, “me I no dey fear fire”, not being scared of anybody, being a champion regardless, just going through situations and most importantly, being Victony, and I felt like there’s no other way to start this project than with this song. 

“Chop & Slide” 

With this song, I was listening to the beat online, apparently it was a Youtube beat and I fell in love with the beat. The beat basically kicked something in me, and I wrote this whole song in minutes. Usually, I do not like writing a song just with melodies in my head, I like to voice out melodies, do like a gibberish freestyle, and begin to replace the gibberish with words. However, with “Chop & Slide”, it was completely different. I was really excited but Hoodini, the producer who was recording me at the time had said he wasn’t really feeling it, so that just killed my morale. But my manager Dafe came back from school after a while and heard the song. He was super excited about it as well. I went back to the record and I said regardless of what anybody has to say, I’m going to finish this record and so I did. I was imaginative with the writing because that’s not a situation I’ve experienced before but at that point, it felt like the beat was commanding me to write about that. I really had no choice, I was just going with the flow. 

“Apollo” 

Making “Apollo” with P.priime was such an experience for me. We started the beat from scratch and I told him I really loved the song “Remember You” by DJ Clock and I wanted to do something with those exact chords. We just kept on exchanging energies, we kept on rubbing minds together and just banging our ideas. It was just such an energetic record and there were no dull moment at the session. It was just back to back and after we were done recording, we went back and forth with the production and made series of changes. Initially there was no second verse, I added the verse later and I had some girls come do some backup and just did some finishing touches and that’s how “Apollo” became “Apollo.”

“All Power” 

The EP was originally  six songs and as a fun fact, I added “All Power” on the night of submission. This was the last song I recorded a few weeks back and I really just love the song. I’m not sure what it is but there’s just something about it that I love. I was at the studio with Dafe and Hoodini and we had just rounded up a discussion on submission and I was upstairs listening to “All Power” and I was like this song has to be on the EP. I was sure this was what the tape needed and so I went downstairs and said we had to put this song on. It was a bit of a hassle because we felt like 7 songs was just a bit too much but I don’t think there’s anything like too much music so we just added the song. However, creating “All Power” was such an experience for me. Shoutout to Ktizo — the producer collective who produced about 60% of the EP. So I was with Seni, one of the producers and I was tired because I had just come back from my interview but I really just wanted to make music. I told him to play some chords and he did and we just went off. The studio was on fire. It’s a different thing when you’re making a song and when you’re in love with the song.

“Jolene” 

With “Jolene” right, I was in a session and the producer Hoodini played the beat but I was just like next please. I hated the beat on first listen and another day, I was going through my files and the beat came on and, it actually sounded good so I picked up my phone and turned on my recorder and I recorded this melody but I didn’t feel it still. I said I’d play it for Hoodini and I eventually did play it for him and he liked it but I still wasn’t seeing the vision even after recording. However, as soon as he got the girls to chant the chorus that was when it became something to me. From the first day we recorded the song, he had said this was a song that’ll do good in Spanish countries and it’ll be more appreciated by people who are not from this part of the world. I guess at that point, I didn’t really see his vision or understand what he was saying until it became chanty and we got those extra backup vocals on the hook. That was when “Jolene” became “Jolene” to me and I think right now, it’s a whole lot of people’s favourite from what I’ve seen so far. 

“Soweto”

I decided to call the song “Soweto” but it doesn’t in any way directly reference the place. “Soweto” just felt like a perfect title. Working with Tempoe was so fun and he’s such a talented producer. I didn’t really believe in this record as well, “Soweto” was one of the laziest sessions I ever had and I think the laziness was the swag in the song. When you listen to “Soweto” you feel drugged up, I felt like I was on drugs when I was recording. So I’d record a melody, go watch TV, then go back and lay another melody and Tempoe asked me to finish it so I did. He even took it upon himself to help me with some lines and he made sure we finished the song that day. I was really ignorant in the session but playing it for my friends and seeing their reactions made me realise that there’s something about “Soweto”. I caught the bug later and I understood what it was with “Soweto” after a while. I realised it was just the expression, the attitude and the charisma I had on the song were very different and that helped me appreciate the song much later. 

“Kolomental” 

So I linked up Blaise Beatz, another very talented producer who has produced some of the biggest records in the country. For some reason, I just wanted to tap into Blaise’s world because I often feel like this is who I want to work with today. Sometimes when I’m away from my comfort zone and I don’t work with Ktizo for long, I work with other producers. Blaise had this traditional feel to his sound which is very indigenous but still not tied to a place so that people from different parts of the world can still appreciate the song. So we linked up, I gave him the chords to play and we just started building from there. It was just a really normal day, nothing too bright or too dull but for some reason, I wanted to speak on the topic. I wasn’t really in a good or bad mood per say when I was making this, I just wanted to let out the message that I’ve had so many experiences in the last year but I don’t want to think about it. Yes, a lot has happened but I don’t want to focus on that. I want to just focus on the things that actually matter. 

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ICYMI: Our First Impressions of Victony’s ‘Outlaw’

NATIVE Exclusive: BOJ is creating from a place of freedom

Posted on by Dennis Ade Peter

I.

There’s a chance you may have heard the wonderful lore of how Bolaji Odukoya—performing under the moniker BOJ—laced the hook of an instant classic rap song. It’s a story that has been told consistently for nearly a decade but is yet to lose its lustre. If you haven’t heard it, here’s a summarised version of the anecdote: Looking to inject freshness into the Show Dem Camp catalogue, Tec got a Highlife-inspired beat from British-Ghanaian producer Juls, played it for BOJ, who briefly stepped out of the studio to connect with some higher vibrations, and returned to lay down the indelible hook within a matter of minutes.

“Feel Alright” the resulting song, is a seminal banger, the cornerstone to Show Dem Camp’s Palmwine Music’ series and Juls’ scintillating, hugely influential neo-Highlife-fusion explorations. For BOJ, it was one of the two collaborative songs that announced the singer as a distinct vocalist and etched him into the consciousness of Nigerian pop music. The other part of the breakout equation was Ajebutter22’s “Omo Pastor,” a humorous song with a bounce that remains unique till date. Both songs quickly established BOJ’s bonafides as a master of hooks and, thankfully, “Omo Pastor” has its own wondrous backstory.

“Butter sent me the song and he had a hook there already that he didn’t like, which he played for me,” BOJ recalls minutes into our chat over a Zoom audio call. Neither artist had met the other at the time—it was a connection fostered by mutual acquaintances, and the collaboration was pretty much based on vibes. “I went to the studio, I literally recorded something and I had to leave the studio for something, but I was going to come back and rerecord because I did not like what I’d done,” he tells me. Due to Butter’s insistence, he sent that initial draft without expecting positive feedback.

“I sent to him and they were all like, ‘Ye! This is the maddest thing,’” he says, adding that he was perplexed as to why they were enamoured by a rough draft. “I was literally fighting them that there’s no way this thing can come out like this, that I don’t like it at all, but they weren’t budging either. I was just like ‘fuck it’ and I was even thinking that they won’t release it.”

Usually, a new act gaining their first bout of widespread notoriety via features creates pressure, putting them in the difficult situation of hitting a commercially impactful home run with their next headlining single. After being the defining voice of two hybrid rap-pop hit songs, BOJ refused to overreact. Instead of swinging for the fences, the singer delivered a debut mixtape headlined by its title track, “BOTM.” Tilted towards the aspirational, the song, whose title is an acronym for “BOJ on the Microphone,” finds the singer revelling in the brightness of his future.

“BOTM” didn’t exactly put BOJ on the path of ubiquitous superstardom. It did, however, validate the confidence he had in his craft, receiving moderate attention and even winning the award for Best Alternative Song at the 2014 Headies. “I’ve always known I’m playing the long game,” BOJ says, with a palpable conviction in his voice. “I feel like I’m quite spiritual and God has already yarned me that as long as I’m doing what I have to do, putting the work in and making music, I’m getting where I’m going, no matter how long it takes.”

II.

Debut albums are usually landmark moments for artists. For BOJ, it wasn’t—at least not for positive reasons. Three years after the Headies win, the singer’s debut LP, ‘Magic’, dropped under the direction of a label. Having sustained momentum in the intervening years with several singles and a handful of features, the album was meant to push BOJ up the ladder of popularity and mainstream reverence, especially with a stacked supporting cast which included Wande Coal, Simi, Banky W, Ycee, Olamide, and more.

On its merits, ‘Magic’ is an impressive debut where the moments of excitement outweighs its more tepid ones. Heavily tilted towards romantic concerns, the 15-track set is a suite of affectionate and assured performances over mostly sauntering and groovy beats laced by production duo, Studio Magic. It’s understandable that the album didn’t break the scale with regards to critical acclaim, but it was baffling that it barely registered to the wider Nigerian pop audience. There were clearly songs with hit song potential—the Simi-assisted “For Sure” was an obvious one at the time—but BOJ quickly moved on from the album, telling the crowd at a live show that he couldn’t “perform his recent shit,” barely two months after it dropped.

“Basically, it was a strategy misunderstanding,” BOJ tells me. “The label wanted to go a certain way and I wanted to go another way. When they didn’t want to lean towards what I wanted, I was just like, ‘Do what you want. This album, to me, is dead and gone.’” It’s not a unique situation, there’s several examples of artists citing irreconcilable differences with their label as the reason for commercial malfunction. In BOJ’s case, HF music wanted him to fully commit to the mainstream thing, but the singer wanted to maintain his alternative edge.

Despite the heavyweight feature list, there’s some justification to BOJ’s reasoning. As much as ‘Magic’ fit within the mid-tempo craze that had begun sweeping through Afropop the year before, it wasn’t reliant on the Banku sound Mr Eazi championed, neither did it lean on the ‘pon-pon’ sound that spawned mega-hits like Runtown’s “Mad Over You”, the basis for Davido’s dominant 2017 run. It was a pop album that wasn’t guided by trends—after all, “BOTM” and a handful of earlier BOJ songs already established his proficiency for mid-tempo pop jams.

Also, at the time, BOJ had emerged as a leading figure of the then nascent, liberally creative alté community, which prioritised independent expression over conformity. The singer was making alt-Pop music, and since his label was only focused on the pop, he decided to move on, deeming it another valuable learning period in his career. “I didn’t really dwell on it because there’s more where that came from, ‘cause I’ve never, for once, had any doubts of where I’m going to,” he confidently quips midway into our chat.

In the four-plus years since, BOJ has lived up to the bet he placed on himself, going on a productive run that has seen him masterfully hug the line between alternative and mainstream pop. There’s the delightful, summer ‘18 joint EP with Ajebutter22, ‘Make E No Cause Fight’, and its sequel with Falz the following year; he scored arguably his biggest song yet with “Awolowo”; and there’s his MVP-level showing on ‘Pioneers’, the well-received album from DRB—his rap-fusion group with Teezee and Fresh L.

That run has hit another pinnacle with the recent release of BOJ’s sophomore album, ‘Gbagada Express’, a highly collaborative effort with its creative beginnings rooted in the throes of the Covid-19 pandemic. “I started this album during lockdown when I was stuck in my house in Gbagada,” BOJ says. “That’s where my studio is, and because I wasn’t moving around, I was just being inspired by the sauce of Gbagada—of Lagos, really.”

III.

‘Gbagada Express’ is a double entendre. There’s its obvious location nod to a central part of Lagos mainland, and the roadway that links directly to the third mainland bridge, which serves as connector between the island and mainland parts of the compact, densely populated city. On a slightly deeper and more consequential level, it’s an ode to making music that’s connected to your immediate environment, without being obligated to play by anyone else’s rules but yours.

“If you listen well to that Teezee skit on the album, that’s what it is. I’m just a guy from Gbagada expressing myself however it makes sense to me,” BOJ offers as context. While he spent his Uni years in the UK, and is currently splitting his living time over there because of work, being Nigerian, via his Lagos upbringing and affinity for the city, is the base of who BOJ is. Coupled with that Lagos to London privilege, the singer is also amongst a generation of digital era creatives who have grown up alongside technologically advanced globalisation, playing a role in his perception of the lack of borders to the music he can create.

‘Gbagada Express’ is a formidable exercise in melding identity with eclectic choices. The music ranges from sunny Afropop to R&B-tinged bops to mellow drill, while guests range from Nigerian pop superstars Davido and Wizkid to a roll call UK and Ghanaian stars like ENNY and Amaarae. In the middle of this whirlwind of choices is a devilishly assured BOJ, consistently setting a tone of excellence for his collaborators—even on songs he doesn’t open—and displaying a first-rate sense of knowing when to cede space and interject to regain the spotlight.

“Apart from just showing myself and my growth, I also tried to show my A&R skills,” BOJ tells me of his approach to making the album. For him, the sheer number of features and the range of music he dabbles in is emblematic of the freedom with which he creates. It’s also an acknowledgement that, as an artist, freedom is a two-way street and the only way to fulfil his end of the bargain is to deliver songs and albums that represent his ideals as an artist.

“I make the music I like and I know there’s people that will like it, so that’s who I want to mainly cater to. I’m not trying to force something down anybody’s throat. I’m all about expressing yourself how you feel, and that includes working with other people. I feel like I enjoy listening to myself more with other artists, even if the other artist has more vocals or whatever, it sounds nice to me like that.”

Nearing a decade since his breakout, BOJ is fixated on maximising every moment of his artistic journey. Occasionally, he’ll reflect on the seminal achievement of pioneering a crucial movement in urban African music, but he’s quick to admit that there’s more great music to make, more boxes to check, and more goals to accomplish. Consistency is a recipe for greatness, and creating authentically binds an artist to listeners.

“When people tell me things like I inspire them, I feel like I’m doing what I’m supposed to be doing,” BOJ says as we conclude our chat. “That’s what I’m here for, to let young people know that they can figure their stuff out and do things their own way—not even just in music, whatever it is—that’s what keeps me going.”

Stream ‘Gbagada Express’ below.

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ICYMI: READ OUR FIRST IMPRESSIONS OF BOJ’S ‘GBAGADA EXPRESS’

A 1-Listen review of Money Badoo’s ‘PORN$TAR’

Posted on by Dennis Ade Peter

In 2020, Money Badoo caught her first rounds of attention as part of a complementary duo, alongside close friend and collaborator Sauwcy. The pair released ‘MK-Ultra’, a bite-sized EP loaded with intoxicating trap cuts. While that joint debut was partly rooted in vivid chemistry between the two artists, it also showcased their individual powers, with Sauwcy’s gruff cadence playing the more orthodox counterpoint to the eccentric charm of Badoo’s ethereal wheeze.

A year out from the Blxckie-assisted “LIL BIH (Remix)” and their entry into NATIVE’s uNder (previously titled Fresh Meat) series highlighting exciting, nascent artists, Money Badoo has taken definitive steps in carving out her path as a solo act. In addition to guest appearances on songs by lordkez, Doowap and more, she’s shared a handful of singles, and the grip of releases have seen her dabble into downbeat trapsoul, amapiano, and hyperpop-inflected rap. All of that has set an expectant tone for her solo debut project, ‘PORN$TAR’, released today.

Money Badoo has shown herself to be capable of pulling multiple tricks, albeit in limited bursts. ‘PORN$TAR’ is her chance to pull those highlights into a searing performance. Let’s get into it.

 

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In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.

“K.R.E.A.M (Intro)” [feat. Maglera Doe Boy]

This opening is ominous, a bit hair-raising even. This is an interesting start to the project, replete with gruff sounds and loud barks.

“g2g” (feat. lordkez)

This is quite the build-up, I can already tell it’s going to knock. “I’ve been doing better, baby” is a very lordkez lyric, she always sings from a place of lived-in assurance. And that voice, balmy and soothing. That’s Money Badoo, took a minute for her to slide in, but it’s worth the wait. This beat is amazing, it’s like riding on a pink cloud. “g2g” is wildly different from the last collab from this two, and they still don’t have to force the chemistry. I already know I’m going to spin this an insane amount of times.

“Gone Girl”

Even from the squeak and piano, I can tell this beat is fire. I mean, I’m barely two songs in but I’m tempted to praise Badoo’s ear for beats. Her flow is engaging, much sturdier but she’s adding melodic tricks and cadence tweaks to keep things interesting. “See me move, they trying/I get money five ways” sounds like an Instagram-ready caption. I’ll need to revisit this to hear every line, but this amazing on the music side. Of course, there’s an electric guitar to close things out.

“47K$” (w/Ricky Tyler)

Lead single time. I found this song out through the music video, and it was quite the worthwhile experience. Think I even watched twice, I can even picture it now. This is corny in the way romantic duo ballads are meant to be. The fact that Money Badoo can go from imposing rap flows to featherweight singing with losing her light touch as a performer is pretty great. Ricky Tyler was on uNder a while back, too, by the way. I think we have great ears at The NATIVE. This is a good song.

“Your Way”

This is a bit grungier than previous song. Money Badoo is luxuriating in the pocket but she’s still commanding my attention. “I can never flop, if I got you then we gon make it” is a romantic sentiment, but it’s line that works beyond its intended setting. That’s one of the hallmarks of relatable writing, it doesn’t work in a rigid framework. These songs are quite short, I would’ve liked this one to stretch out a bit, but I definitely won’t be skipping on the playback.

“H3ART OVERBOARD”

Every song so far has its moment of bated breath, where chords build-up to unfurl gorgeous beats. This one is no different, a muted bounce with wavy synths. It’s almost impossible to overstate just how soft and warm Badoo’s voice. Next to plush beats, it’s just wondrous. There’s the brief switch to a rap flow. How does she sound so wounded and inviting at the same time? Will need a replay for this, but I can’t call it a skip.

“PI$TOL POP”

I have to wait for a few seconds before I type because of these build-ups. I’m not mad. This is the closest thing on this tape to MK-Ultra. Hearing “I just pistol popped that bitch” in an operatic cadence is nothing if not intriguing. This is rambunctious and sensuous enough to work in a strip club, beyond that, I don’t know. These lyrics are a bit stock, and that robotic flow isn’t doing much for me. This beat, though. Very good. I wish this was much shorter, possibly my first mehhh on this album.

“100 DAY$” (w/Sliqe & Yanga Chief)

Okay, pick me up. Money Badoo sounds sweet and foreboding over this blown out bass. Yeah, this is more like it. Two lines just caught my ears but I’m so fixated on how impossibly smooth this flow is, so I can’t recall either one. Yanga Chief isn’t letting the energy wane, he’s picked up the baton with purpose. Couple of nice bars, nothing to crazy caught me. This one slaps, might be a keeper on second listen.

“cum 2 me”

This has been an immersive experience so far, but all these build-ups haven’t made for great transitions. From the title, this was going to be sensual. It’s living up to the expectations, though. This is late night, owl hours, carnal intentions music. Perfect for that private strip session playlist. This is the song you send ahead of a sneaky link, with the purple devil emoji as a caption. I think I’ve dropped too many descriptions. Let’s just say I like this one.

“PORN$TAR”

Last song. What would the hybridisation of rap and R&B sound like with no guitars? Yeah, this beat is absolutely gorgeous. Badoo’s voice barely goes above a whisper, she understands this assignment. I think this song is the second side of one-two punch with “cum 2 me.” I like this song, even more as a closer.

Final Thoughts

In a time when there’s a premium on versatility and honing a hybrid skill-set, Money Badoo is doing her best to stand out positively. Embedded within the ten tracks of her debut album, is the image of an artist confident in her strengths while still figuring out the developing facets of her abilities. ‘PORN$TAR’ is a remarkable showing of Badoo’s equal standing as a singer and a rapper. On the drop of a dime, she coos soft melodies and delivers irreverent bars, playing around with her delivery range to great results.

‘PORN$TAR’ also emphasises her ear for immaculate beats, with a lush and subtly ebullient soundscape filled with gentle guitar plucks, scuzzy synths, gently thudding bass, and varying types of instrumental flourishes. Ranging from luxuriant singing to tastefully attacking pockets, Money Badoo commands the sonic environment around her with apt levels of grace and/or assertiveness.

Centred on romantic trysts and cutthroat boasts, the writing on ‘PORN$TAR’ won’t floor anyone, but it’s consistently engaging and relatable. Most importantly, there’s a lived-in essence to Badoo’s lyricism, which balances out the sometimes surreal edge of her musical choices. There’s a lot to like about ‘PORN$TAR’ and, by extension, Money Badoo. She’s delivered a debut project that firmly sets her on the path to greatness.

Listen to ‘PORN$TAR’ here.

Featured image credits/MoneyBadoo

ICYMI: BEST NEW MUSIC: MOLIY’S “9 TO 5” CELEBRATES THE JOY OF UNCONVENTIONALITY

Our First Impressions of Victony’s New EP ‘Outlaw’

Posted on by Damilola Animashaun

Victony’s ability to turn life experiences into fully realised songs has not gone unnoticed. Last year, the musician returned from a ghastly car crash to imprint his transcendental sound on listeners. After the two-track ‘Dark Times’ produced his most introspective song yet (“Pray”), Victony’s svelte vocals was the dominant feature on arguably the biggest song of the year (“Holy Father”), carrying him into 2022 as one of the artists to watch out for.

 

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And truly, he hasn’t disappointed. Being in the center of a friendly spar against Omah Lay made his earlier music reshared on social media, where listeners got a taste of Victony’s background in rap. There he emerged as a savant of the Soundcloud era, wielding emo sensibilities and after EP ‘Saturn’, pairing them with the pomp of contemporary Afropop.

The deliberate synthesis of such artistic virtues were again highlighted on “Apollo” and “Kolomental”, his previous pair of singles released earlier this year. Their brilliance has done well to helm the release of Victony’s anticipated EP, ‘Outlaw’. Purple-themed, intricately structured and imminently personal, the seven-track project is bound to dominate discussions over the weekend and most likely, beyond.

Our editorial team at The NATIVE have clocked in their early listens of ‘Outlaw’, and here are our first impressions of the project.

Best Song

Tela: “Outlaw” has to be the best song from the album. There is a melancholic yet hopeful tone to it as if indicating a great renaissance,, which is evident in the tape. Exploring a deeper theme as he translate his headspace into melody, the opening chant “we are the champion, king champion” serves as a reminder that we are champions giving you the will to move ahead despite tribulations. The melody is meticulously infused amid the chant leading to a crescendo as the harmonic set of pitches and the subtle background vocals set the tone for the song. His songwriting is witty offering comfort while still motivating as if he in a conversation. Outlaw emphatically captures the high and lows of an outlaw.

Chibuzo: I’ve listened to the project several times in a bid to be certain of my ‘Best song’ pick and I’ve concluded that “Chop And Slide” is the crown jewel of this majestic 7-track offering for a vast number of reasons. To start with, the production of this song and “Soweto” are incontrovertibly the best on the project. The production is minimal and apt, allowing Victony’s voice to shine through. But make no mistakes, minimal does not imply basic. The keys on the song are dreamy, ethereal and immersive, to say the least. On this song, Victony’s mesmerising vocals take the spotlight and boy! The boy can sing. He maintains cool composure for the first half of the song but when he gets to the second verse, he goes off totally, delivering a jaw-dropping sonic spectacle. His texture is silky and malleable, his range is also dazzling. In many ways, this song functions to display Victony’s overall range as a vocalist and a songwriter.

Moore: “Outlaw” is definitely my personal favourite from this project. The intro drew me in immediately, it feels like something to be chanted along to. This flows well into the rest of the song, which feels like a somber melody that also insists you sing along to it, this time more quietly. At least until the energy begins build until it reaches its peak with the lyrics ‘I no dey fear fire’, a height of emotions.

Best Production

Wonu: For me, the best production will have to be the production on “Soweto”, I mean what was Tempoe on? One thing I’ve noticed about Tempoe’s production has to be the finishing on the beat, down to the last detail. The blend of each element on this beat is very intentional and I’m not just talking about the kicks or drums, I’m talking about how it all comes together. This record is very special if you ask me.

Dennis: I’m not going to lie, this one is hard. Every song on ‘Outlaw’ is a masterclass in instrumental arrangement, which is a huge plus to Victony—his ear for beats has always been phenomenal. Because I have to choose, I’m going with “Apollo” and “Soweto.” With all the great hit songs they’ve produced in recent years, it’s impossible to say P.Priime and Tempoe had due bills when they created these respective songs, but the level of meticulous genius in those beats sounds like their landlords were banging on their doors and hounding them for rent. Thankfully, Victony responded by delivering inspired performances on two of the best beats we’ll hear all year.

Standout verse

​Chibuzo: While I feel that Victony’s songwriting on this offering could have been better — considering that his crafting dazzling verses is his forte — his penmanship on ‘Outlaw’ is incredibly stellar. Victony displays this in earnest, melding words with an uncanny deftness into plush earworms. Like how he sings “Ogologo something wey you carry o/When I’m moving west I Dey find your Taribo” on “All Power”, or when he cheekily blurts “Oh keep it shaking, Joliy you be my Faraday. When it is shaking, e dey gimme light, I nah fi explain”, he makes crafting these quintessential Afropop lyrical masterpieces sound painfully easy.

Maria: Victony’s penmanship on “Kolomental” is stupendous. Throughout the mid-tempo track, Victony seamlessly intertwines gems on self-belief, stardom and shrugging off naysayers all while creating a smooth groove. It’s a great combination of danceability and relatability.

Tela: An undeniable fact is that Victony’s approach when creating ‘Outlaw’ was strategic and deliberately different from his previous projects. With an aim of embracing new freedom, he vibrantly tackles deep issues such as his second chance at life while cheekily inserting songs such as “All Power”. Victony’s third verse on “Outlaw” is a burst of emotions. Inviting you to his mental headspace he takes you through his acknowledgement of his fans, naysayers and his self prophecy of being great without having an idea of what to do but his self-belief serves as a reassurance of his greatness. As you listen to the verse, you have the epochal feel of redemption.

Biggest Potential Hit

Moore: It’s always hard to predict what will connect with people, but I’d say I can imagine “Jolene” being a hit. It’s infectious beat immediately makes you want to dance, which is necessary for Nigerian listeners. It also has an extremely catchy and easy to learn chorus that I’m sure many will sing along to.

Chibuzo: “Soweto” and “All Power” both have hit potential. They both check all the boxes that have defined hit songs in the past year and half — resonating lyrics, tight production, and breezy vocal delivery, but I reckon “All Power” has more potential. It’s a mid-tempo bop but it’s fast enough to dance to, plus it’s a song that would fly for TikTok videos.

Maria: My pick for this would be “All Power”. It’s clear that I have a bias for songs that praise women’s bodies (I mean, why not?) but asides that, the beat is infectious and Victony’s vocals are silky smooth throughout the track. Also, the hook is really catchy, you can almost visualise girls acting up when it comes on. It has all the necessary elements of a hit single. This one is going to be shaking clubs up for sure.

Overall first impressions

Dennis: If I wasn’t obligated to be more elaborate with my opinions, I’d just insert the mind-blown emoji here and be on my way. Outlaw is one of the best projects of 2022, and I’m saying that off one listen. I can already tell the replay value of the entire project is insane. The beats are multi-coloured, multi-layered slabs of excellence. Victony sings every syllable of every melody with an infectious passion. I’m going to repeat myself again: ‘Outlaw’ is one of the best projects of 2022. I’m about to run it back and send out a tweet with the project link and a mind-blown emoji.

Emmanuel: Victony’s unique ability is sounding fresh each time you hear him. His songs have this mesmerising attention to detail, building subtle layers of sound in each count of the minute. I first experienced this on “More”, and I’ve been a fan ever since. Suffice to say, I entered ‘Outlaw’ with high expectations and frankly, I wasn’t let down. Each song on there is arguably the best song, distinct in their own way as they cover the subjects we know him for. There’s lot of sex, but also lots of introspection; however, it’s his songwriting that renders them heft, makes you listen and listen till you can’t wait to sing along. Production-wise, the EP is also competent, building clouds of mostly soft beats under Victony’s alert vocals. In all, ‘Outlaw’ is a thoroughly enjoyable project that will go on to do great things for this talented artist.

Wonu: I’ve listened to this ‘Outlaw’ EP about 4 different times now and I must share, when I heard it the first time I knew it was going all the way up. Victony created something magical on this project. There’s a different experience with every listen and there’s this level of confidence you can sense in terms of the delivery. His writing on the EP, the production, the song selection, the track arrangement, everything seemed so organised and in order. On first listen, I knew this would definitely be here for some time. The replay value is also there so I’m excited to see how it all works out for him and how he manages the marketing of the project.

Stream ‘Outlaw’ below.

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ICYMI: PROJECT RUNAWAY

Songs Of The Day: New Music From Suté Iwar, Nesza, King Promise & More

Posted on by Tela Wangeci

2022 is no longer a new year, and Afropop knows that very well. As much as the previous year was packed with scene-defining achievements, especially within the context of global growth, the only way to keep the momentum from falling off is for artists to keep reaching into their bag for great music that holds the ears and captures the hearts of millions of listeners across the continent and well beyond. That’s exactly what’s been happening, so much so that there’s hundreds of new singles, at-least one new must-hear album and a new smash hit every week.

Amidst this torrent of new music, the NATIVE is committed to highlighting the best releases you need to hear, and possibly add to your playlists. That’s the essence of our ‘Songs of the Day’ column. Earlier in the week, we highlighted new drops from Naira Marley, Zinoleesky, Young Jonn, Darkoo, Ninety and more.. Today’s selection includes new cuts from Kizz Daniel, Tekno, Larry Gaaga and more.

Suté Iwar –  “Alright, Okay”

Suté Iwar is known for his fiery Hip-hop numbers but in “Alright, Okay,” he takes a soulful approach as he carves out his own image in the burgeoning music scene. This melodic single tells the story of chasing the bag while avoiding negative vibes as he sings lyrics such as “your bad vibes can’t affect my mental temple.” 

Kizz Daniel – “Buga” ft. Tekno

Following the release of his high-charting EP ‘Barnabas’ last year, Kizz Daniel is back this weekend with a new single. Here, he teams up with Tekno for a brilliant Afropop number titled “Buga”. The duo talk about the pertinence of money while also singing about the need to have fun amid their day-to-day struggles. 

Larry Gaaga – “Monica” ft. Ajebo Hustlers and De La Ghetto

“Monica” is a sultry single which sees Larry Gaaga, Ajebo Hustlers and De La Ghetto trade amorous lyrics about their respective muses. Over a drum-led uptempo beat, the trio in a braggadocious fashion, pump their chest as they talk of spoiling their muse.

Nezsa – “Trouble”

“Trouble” is a captivating number from R&B singer Neza’s anticipated sophomore album. Her enchanting silky voice serenades the audience creating a calm ambience as she talks of emotional breakthrough from a toxic relationship. The glorious saxophone complements her layered harmonies over the lush 808 productions

Korb$ – “Kamata” ft. Kahu$h

Korb$ has been a force to reckon with in the underground Nairobi music scene. With a knack for storytelling, the stellar rapper has released a 12-track project titled ‘Purple Orange Skies’ which tells the story of growth, love and pain. Teaming up with fellow Kenyan rapper, Kahu$h on standout track, “Kamata” is an earworm track highlighting the concept of a good time. 

Jess ETA – Raging ft. Gemini Major

For his latest EP ‘Playing With Fire’, Jess ETA delivers an 11-track project with hits such as the Psycho YP-assisted “Paralysed” and eccentric number “Raging”. “Raging” is an Amapiano infused single that sees Jess ETA employ help from the super-producer Gemini Major who does not fail to deliver. With a hypnotic sound bed, they create a dance anthem with deep percussions synthesised with distinct log drums. 

King Promise – “Ginger” 

Ghanaian singer King Promise’s latest single, “Ginger” feels as if you are watching a sunset by the beach. King Promise tries to woo his muse by dishing out praises as he sings “prettiest girl I’ve ever seen for you these melodies I sing”. The romantic number is meticulously produced with a mellow sound bed that shines a light on King Promise’s passionate singing.

Kemena – “Rewind”

Nigerian singer Kemena has released a new single titled, “Rewind.” This Afro-fusion ballad will certainly have listeners compelled from the first listen as it’s furnished with dainty violin melodies, bass sound beds and a jolty backdrop. Expressing his attraction towards his muse, Kemena’s stellar penmanship shines all through the song as he fawns over his muse. 

95ANTNY – “Less Is More”

uNder alum (previously Fresh Meat) 95ANTNY — a deft purveyor of genre-defying experimental sounds — has returned with his first solo offering in almost a year dubbed “Less Is More.” The track is a resplendent ode to a love interest who relishes the silent moments between them. “She say less is more, so she don’t talk”, he sings over the billowing production. “Less Is More” is made up of tittering drums, ethereal synths, raging guitar riffs, and slick flows that lean full-tilt into RnB. True to his nature, he marries an assortment of elements into holistic flourish that captures his idiosyncratic essence. 

Featured Image Credits/NATIVE

ICYMI: PROJECT RUNAWAY

Jess ETA Arrives With New EP, ‘Playing With Fire’

Posted on by Wonu Osikoya

Since emerging as the winner of Audiomack’s Rising Star challenge in 2021, Jess ETA ascent in the music industry has been one to attentively watch. Over the past few years since his debut, his blend of Afro-R&B with soulful Pop, Rock, Afropop and more, has endeared him to a multitude of growing fans as he gracefully confirms himself as one of the most promising artists of the now.

 

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For his first body of work, Jess released his debut studio album ‘Aphrodite’ in 2019 and followed up with his second body of work ‘Balance’ in 2020, a 6-track compilation of delectable Afropop and R&B records with guest performances from SGawD and Zarion Uti. The body of work put on display the rapid-fire skills that the Nigerian-born singer had to offer and set a clear trajectory for his sonic growth. Now, after releasing a handful of singles, including “Skata” and the BNXN-assisted “Body On Fire”, Jess ETA is ready once again to welcome into his immersive world.

‘Playing With Fire’ is an 11-track project which sees the songwriter showing off his sultry vocals and blending that with his stellar lyricism. On the 32-minute run, he taps artists such as Gemini Major, Azanti, Frya and PsychoYP for guest verses and producers such as Maxonproduction, Riverays,  S’Bling and more for additional production.

The tape features records such as “Dangerous” and “Paralyzed”, both of which sees the artist chanting romantic lyrics to his lover, drawing influences from R&B and soul. On the standout record “Paralyzed”, the artist sings on the chorus “I’m ready for the consequences, I’m burning with desire, it’s killing me/this could be suicide, it’s messing with my confidence, you’ve got me paralyzed”. With every new project, Jess ETA reestablishes why he’s here in the first place and “Playing with Fire” is yet another statement by the artist who has a lot to say. 

Listen to ‘Playing With Fire’ here.

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ICYMI: PROJECT RUNAWAY

Platoon celebrates Africa Month with new compilation project, ‘African Lullabies Pt. 2’

Posted on by Tela Wangeci

As a new quarter of the year begins, we’re reminded that May is the month of the annual Africa Day celebration. Held on the 25th of the month, the event is heralded as a day to celebrate Africa’s vast and diverse cultural talents. This year especially, the day means more to Africans globally, as we continue to witness the fervour and tenacity of our people and ideas which have soared beyond the shores of our very continent.

 

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Platoon–an artist service, A&R and music distribution company owned by Apple is celebrating this year’s Africa Day with the release of their sophomore compilation project, a collection of children’s songs titled ‘African Lullabies Pt. 2.’ The new compilation serves as a follow-up to ‘African Lullabies Pt. 1,’ which was released in October of 2021 in collaboration with some exceptional African voices, particularly South African singers and songwriters such as Ami Faku.

The second installment of African Lullabies sees a contemporary pan-African approach as it employs the silky voices of rising and established icons across Africa. Psalms of Suli introduces the album with “Hello Little One”, a serene earworm track that sets the warm and secure tone for the rest of the project. ‘African Lullabies Pt. 2’ also features a talented spate of artists and producers from around African including Asa, Karun, Tresor, Wurld, Olayinka, Aymos, Ntsika, Teni, Manana and Ayra Starr who all demonstrate an equal passion and knowledge of folklore, bringing a smile of appreciation to the faces of listeners.

Most of the recordings are original compositions by the artists, drawing from their experiences in parenthood, African folklore, while others are interpretations of previously released material arranged and re-recorded as lullabies. Despite being dubbed “African Lullabies”, this is a captivating and harmonious project that will certainly provide something in it for every listener, regardless of their age.

Since July last year Platoon has ventured into the kid’s music space after recognising the vital need for a rich and diverse offering for children that catered to all kids regardless of the language they speak or the country they’re in, partnering up with musicians and children’s content creators from across the globe and many languages, to become one of the leading children’s music curators in the world.

Stream ‘African Lullabies Pt. 2’ below.

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ICYMI: PROJECT RUNAWAY

Beno Obano Is Inspiring A Generation Of Rugby Stars Through Documentaries

Posted on by Emmanuel Esomnofu

In the nineties, Beno Obano’s parents relocated to the United Kingdom from Nigeria. That move would later inform most of his life as a second-generation British-Nigerian. While most of his mates back home took up professional careers as doctors or lawyer’s, as Beno grew older, he would go on to become a rugby enthusiast after a number of influential people saw potential in his physical build and encouraged him to play.

Nowadays the 26-year-old Bath player and England international collaborates with Amazon to produce documentaries that shine a light on the sport’s racial imbalance. “It’s obvious, when you look at the teams and you see a lot of white people,” he says to The NATIVE, “and you’re like ‘why aren’t there more diverse people?’”.

 

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Making the documentaries was Beno’s idea of broadening the ideas of Black people in regards to how they engage Rugby, seeing as it had changed the lives of players like himself. The first, ‘Everybody’s Game,’ was inspired by his come-up as a first generation South Londoner who also wanted Nigerians “to be proud and feel some sort of connection” to Rugby.

Eventually, Obano’s documetaries caught the attention of the right eye, gaining him a presence with TV giants Netflix and Amazon after he’d finished making the documentary. The latter responded positively, and that was the start of a partnership which is extending with Beno’s forthcoming docu-series, ‘Prep To Win: Harlequins’.

Speaking about his reason for opting for documetary-style videos, Obano shares, “I don’t like print media that much,” he says, smiling as he lingers over the last word. “Print media is a medium. Someone’s telling your story for you. That was my experience. In England, they’d come interview me and I’d speak to them, and then I read what is written. And it’s not like, wrong, but it’s their perception of what I said. I just thought it’s important to make a film where there’s no mediation. The person saying it is directly speaking to the person they’re trying to reach”. 

 

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There was a need for additional research. “Although I felt what I felt about the sport, I didn’t want it to be anecdotal,” he says. “I wanted to have the statistics to back it up, so I did loads of research around what I actually felt was the case, to support my argument essentially”. 

‘Prep To Win: Harlequins’ is about turning things up, he tells me with a half-laugh. Along with some creative collaborators, he brainstormed the idea for a series that advances the game of rugby within its highest tier. “It was perfect,” he says. “From that point onwards, we just ran with it. I then pitched it to different teams, and they said yes. The same process, I showed it to the broadcasters, they said yes and then we moved forward”.

The series focuses on the pre-season journey of different teams. The reasons were practical enough: he wouldn’t have to worry about rights to official games or the lengthy production time of covering an entire season. His major concern was however more skill-influenced. “Pre-season is a part people don’t actually get to see,” he explains. “It’s the preparation phase. Even for this interview, for example, you have to prepare to ask me questions. People don’t see the preparation, but they’ll see the article when it comes out. So I thought if you can shine a light on the preparation, it’s a bit more interesting and more relatable ‘cos everybody has to prepare to perform”. 

Beno Obano’s upbringing was effusively Nigerian, and it’s a trait that remains with him till today. In an episode of Pearl Conversations, a podcast hosted by his cousin and professional rugby player Maro Itoje, he admits certain cultural references (like not shaking someone with the left hand) used to confuse him, but he’s grown to understand its dominant message of respect. Likewise, Itoje confirms that “for [Beno] and I rugby has never really been there when we were growing up.” Until secondary school, “rugby was never really a thing for us. Coming from a Nigerian household where if it’s any sport at all it’s football, if it’s not football then it’s books.”

Everyone can’t play football however, and that’s where diversifying sports among Black communities comes into place. His efforts have been paying off: after the release of Everybody’s Game, a notable private school in the UK notified him of their interest to fund the education of some selected boys. “That sort of changes people’s lives and I think sports is able to do that,” he says. 

In the past Beno has tried out rapping, and even released a couple of mixtapes. When the conversation shifts to music, he is instantly alert, responding that music pretty much soundtracks most activities in his everyday life. He’s previously opened up into the differences between his music taste and those of his predominantly white teammates, sharing his defiant response when they’d sometimes complain in the gym. In several scenes across his documentaries, you’d hear music from Skepta, DRB Lasgidi, Lojay and Headie One.

He hasn’t been in Nigeria too frequently, and that’s because the December festivities collide with rugby’s busiest period. “I wanted to go this summer, just relax, take it easy,” he says, “that’s kind of what I’m looking forward to doing. Hopefully, I buy a house out there soon and I have somewhere I can just stay. That’s the plan really, ‘cos we all have to go back home at some point.” 

Featured image credits/NATIVE

ICYMI: 11 Projects You May Have Missed This Year

What’s Going On: Minimum wage increase in Kenya, FIFA sanctions for Nigeria & more

Posted on by Dennis Ade Peter

“What’s Going On” Tallies Notable News Headlines From Across The Continent — The Good, The Bad, And The Horrible — As A Way Of Ensuring That We All Become A More Sagacious African Generation. With This Column, We’re Hoping To Disseminate The Latest Happenings In Our Socio-Political Climate From Across The Continent, Whilst Starting A Conversation About What’s Important For Us To All Discuss. From Political Affairs To Socio-Economic Issues, ‘What’s Going On’ Will Discuss Just That.

Minimum wage increase in Kenya

Four years since it was last reviewed, Kenya’s President Uhuru Kenyatta has announced the increase of workers’ minimum wage by 12 percent. The announcement was made during Labour Day celebrations at Nyayo National Stadium on May 1, with the reasoning being that increased minimum wage would help Kenyans deal with the increasing fuel and food prices, which have been effected by Covid-19 pandemic, droughts in several parts of the country, and the ongoing war in Ukraine.

“In full appreciation of the critical contribution of workers to the economy [and] following the recommendation of various stakeholders, I today declare an increase of minimum wage by 12pc points with effect from today,” Mr. Kenyatta said at the Labour Day rally. The 12% increase will raise the average minimum wage from 13,500 Kenyan shillings to Sh15,201.64. “We believe it is imperative to review the minimum wages to protect our workers from further deterioration,” the president added.

This new increase is far from the 24% increase demanded by the Central Organisation of Trade Unions-Kenya (COTU), with critics citing the upcoming presidential election as the motivation behind Mr. Kenyatta’s directive. Kenya’s economic woes is the most pressing issue ahead of the August 9 polls, with year-on-year inflation rising to 6.47 percent in April, a near 1 percent increase from March. Even though it’s not the ideal 24 percent increase, the 12 percent increase is a step in direction of easing the lives of Kenyans, with the rapidly increasing cost of living in the East African country.

Central African Republic adopts Bitcoin as national currency

Less than a year after El Salvador became the first country to adopt Bitcoin as legal tender, Central African Republic has become just the second country to make the cryptocurrency its national currency. CAR President Faustin-Archange Touadéra made the announcement last week, stating that country’s lawmakers unanimously voted to adopt Bitcoin as legal tender. The mover puts CAR “on the map of the world’s boldest and visionary countries,” the president said in his statement.

“The president supports this bill because it will improve the conditions of Central African citizens,” Chief of Staff Obed Namsio told Reuters. That claim, however, has been (rightfully) met with some cynicism, since only about 11 percent of the 4.8 million people living in CAR have access to the internet. Along with five other countries, all former French colonies, the country uses the CFA Franc, a regional currency governed by the Bank of Central African States (BEAC), which was reportedly surprised by the Bitcoin adoption. It’s currently being alleged that the cryptocurrency move fits within the anti-French sentiments that have been growing across Francophone Africa, while also playing into growing Russian ties.

The CAR has been in conflict with armed rebel groups for a decade, however, that has greatly reduced since 2018. After coming into office in 2016, President Touadéra has been shifting strategic alliance from France towards Russia, even contracting mercenaries from the Russian-based Wagner Group in the fight against armed rebels. This shift in alliance is believed to be the backdrop of the Bitcoin adoption in CAR, a country rich with gold and Uranium, with the anti-French sentiment favouring Russia’s influence.

On a strictly economic level, the International Monetary Fund has stated that the adoption of Bitcoin as legal tender “raises major legal, transparency, and economic policy challenges.” Recently, the economy minister deemed the situation of public finances to be “alarming,” describing the country’s stark economic circumstance. With the bare level of internet penetration, it isn’t clear as to how the national adoption of Bitcoin will help in boosting CAR’s economy.

FIFA sanctions Nigeria, Senegal for match disturbances

Incensed by its national football team’s loss to the Black Stars of Ghana, at the World Cup qualifying decider in late March, Nigerian fans invaded the pitch of the Abuja national stadium, vandalising property and equipment, and endangering the safety of players, coaches and officials. A month later, the Federation Internationale de Football Association (FIFA) has ordered Nigeria to play one match behind closed doors, and fined the Nigerian Football Association 63 million Naira ($145, 086) for “failing to implement existing safety rules regarding order and security.”

Similarly, Senegal has been ordered by FIFA to play its next match behind closed doors, while its Football association has been fined $180,000 for failing to control fans who shone laser pointers into the eyes of several Egypt players, during the second leg of their World Cup qualifying decider. During the penalty shootout, which Senegal won to qualify for Qatar 2022, fans shone laser pointers at several players of the opposing team, notably Mohammed Salah, as he missed his penalty kick.

These sanctions were announced as part of several decisions by the world football governing body, after investigating several incidents during the last round of World Cup qualifying matches. Algeria was fined $3,000 after fans threw objects and fireworks during their second leg meeting with Cameroon. The Democratic Republic of Congo and Lebanon also received punishments following disturbances in their matches against Morocco and Syria, respectively.

ICYMI: THE RISE OF SHRAP, A KENYAN GENRE FOR THE YOUTH & BY THE YOUTH

All You Need To Know About the dysfunctional Ademola family in Netflix’s ‘Blood Sisters’

Posted on by Moore Wright

Netflix’s new series ‘Blood Sisters’ is finally here, becoming the first Netflix Naija original to hit the streamer since its foray into African entertainment. Set to follow two best friends, Sarah and Kemi as they deal with the fallout of the disappearance of Sarah’s wealthy fiancé, Kola Ademola, on her wedding day. The Netflix show focuses on the bond between the two women, while also dealing with heavier topics such as abuse, addiction and toxic families.

The series is an exciting development in the recent string of deals between the Nigerian film industry and international markets. While the limited series only began streaming officially today in Nigeria, we were able to secure some exclusives with the series leading family: the dysfunctional Ademola’s.

In ‘Blood Sisters,’ the family is the focal point of the series, epitomising the dysfunction that occurs, particularly through the three siblings who live under the watchful eye of their mother. Deyemi Okanlawon plays Kola Ademola, the family’s golden boy. Far above Sarah’s social status, Kola represents everything that the Ademola family would like to represent to the outside world. To the public he is an intelligent, hardworking and well mannered young man who leads his family’s business with grace. However, like the rest of his family however, not all is as it appears with him.

Gabriel Afolayan plays Femi Ademola, the oldest child with a chip on his shoulder. More than anything, his character wants to take control of the family business from his brother and finally be the celebrated one, something that he sees as his birthright. Scheming with his wife to upstage his brother, Femi represents the resentment and division that can develop in families where success and image is prioritised over all else. 

Genoveva Umeh plays Timeyin Ademola, the youngest sibling and only daughter. She is an addict who at first appears brash, announcing that she was in rehab to a dinner party as if daring anyone to judge her for it. Timeyin is more vulnerable than she first appears however, as the show follows her struggles with addiction as she tries to prove herself in a family that sees her as permanently defective.

In this exclusive interview, we speak to the three actors that make up the core of this dysfunctional family. They tell us more about the value they place on playing such complex characters, what drew them to the project and what audiences can expect from the show.

Our conversation which follows below has been lightly edited for clarity.

What made you sign onto this project?

Deyemi: It was the money. We can be honest! They said ‘you people, we’re paying you this amount of money’. And we said ‘anything that you want us to do!’

Genoveva: It was Timeyin for me. Absolutely Timeyin. I read her bio and I was like ‘geez I want to play her character.’

Deyemi: You know when they sent me the sides and told me to send a video, my wife was reading for me. We got to this except, and that was the first violent scene. My wife was in shock, we were both in shock. You know in the other excerpts he seemed like a regular guy. Also, I fell in love with the character, the story, and the fact that I’d been told the actors I was going to work with. And then, it was EbonyLife productions again.

Genoveva: And you can imagine me, I didn’t know who I was going to work with. I was just like me, you’re giving me this role? Me? And then I walked into the table read and I was just like ‘what am I doing here?’

Speaking about your characters, the three of you play quite flawed characters. Would you say there was anything you could relate to in them, whether in spite of their flaws or because of them?

Gabriel: Once you judge a character you can’t play them. So for me personally it’s because of those flaws that I’d want to play a role. You have to be vulnerable to the process. So it’s nothing so big that one can’t handle once you understand the arc of things.

Genoveva: Timeyin was extremely flawed, she’s an addict. But I think I played her in a way that you’re not looking at her flaws. As someone that’s been failed by her family. She wants support and she wants to be believed in right? But she doesn’t get that support in her motivation to change. She wants to quit drugs but she doesn’t get that support from her family. I’m an extremely flawed human being and I love playing characters. And I will defend Timeyin because regardless of what she does, it’s the reasons she does the things she does that is important.

Deyemi: The problem is I don’t understand this whole ‘flawed, flawed’ thing, because I’m perfect. I’m sure if you sit down and you wake Kola Ademola up in the morning he’ll say ‘I’m perfect’ too. So you know a perfect guy playing a perfect role. But Kola is a deeply, deeply flawed individual and it’s always exciting to  embark on a journey towards finding a character, for me that’s the height, that’s the juice, that’s it. Forget the film, forget the money, forget everything else but that journey into finding a character, getting to a point where you actually empathise and you can say ‘I get it. I don’t agree with it but I get it’. As Gabriel said, you cannot play a character that you judge. So until you empathise, that’s when you find out how to be the character. For me that was the process.

 

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What do you think will surprise people the most when they see the show?

Deyemi: Just how beautiful everybody looks.

Genoveva: How thrilling it is, it’s binge worthy. You start episode one and you are going to sit there until episode four..

Gabriel: The fact that there’s no missing link in the characters.

Genoveva: And these characters are so different, which is nice because then you’re following peoples stories and peoples lives. And you can see relatable characters.

Deyemi: I feel like as you’re watching, you’ll see somebody you know. I think people will totally love it.

Gabriel: It’s quite an ensemble, everything just came together.

Without giving any spoilers, what would you say your favourite character moment was?

Gabriel: Hmm.. Blue Film loading. 

Genoveva: I’m screaming. Do you care to elaborate on that?

Deyemi: I think Gabriel should have paid to play this role, because we did all the work. He had all the fun. 

Gabriel: You know when you work all the years and one job comes where you can just flex?

Genoveva: I had so many great moments. I don’t think I had just one moment where I thought, ‘this is amazing’. Perhaps her entrance? Timeyin’s entrance is like, this is who i am, love me or hate me. I think the finale as well. Look out for that!

 

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Deyemi: So for Kola, because of the level of aggression I was gunna bring, I was in the gym for three months. More intense than I’d usually go. I was doing weightlifting then I was doing boxing. And then you see there’s a fight scene in the series, so I wanted to build a specific fighting style. So between what the choreographer had and what I’d done over the past months to get ready. 

Gabriel: That was one of my favourite scenes too.

Genoveva: It was lit.

What’s your best memory from set? Whether on or off screen?

Gabriel: The food. Me, I chop. You don’t understand, it was sweet. The costumes, superb. Then the directors, two different flavours. It was so on point that you couldn’t even feel the difference. It was just like one person anchoring us into another person’s hands.

Genoveva: I think everytime i had a conversation with the directors, anytime I had to rehearse, it was just vibes. And I live for this so it was just nice to just have the freedom to do what you want. And the production value of EbonyLife is huge. And Netflix made sure that everything we had on the script was actually brought to life so there was no reason why we couldn’t have fun.

Deyemi: I entered a helicopter! 

Gabriel: The production value was top notch. He looked perfect with it.

You can watch ‘Blood Sisters’ here.

Featured image credits/NetflixNaija